Integrated Systems
Digidesign ...........................904-947
Emagic .................................948-971
MOTU ..................................972-993
Steinberg ...........................994-1031
Cool Breeze .....................1032-1033
SONAR 2.2 & SONAR XL 2.2
Digital Multitrack Recording System
SONAR 2.2 is Cakewalk’s flagship audio and MIDI production sofware for Windows
Me/2000/XP. SONAR 2.2 offers unlimited MIDI and audio tracks, realtime 32-bit DirectX8
effects and DXi soft synths and powerful Acid-style loop construction all tied together with
automated mixing of virtually every parameter. SONAR provides support for 24-bit/96kHz
audio hardware using ASIO and Windows WDM drivers, offering latencies as low
as 1.5ms. Almost all of SONAR recording, precision editing, mixing and routing
functions can be accessed directly from a single window known as the Track View.
This elegant and intuitive interface combined with SONAR’s extensive built-in
control surface support delivers an exceptional level of speed and efficiency that is
sure to optimize your creative potential and workflow. SONAR 2.2 ships with a
suite of essential DirectX8 effects plug-ins along with three powerful DXi soft synths
including: Cyclone, an Acid-compatible Groove Sampler; as well as Virtual Sound
Canvas 1.5 and DreamStation 2.0 synthesizers. Also available is SONAR XL 2.2
which adds an advanced DXi drum sampler workstation and 64-bit DirectX 8
audio-mastering effects to the plug-ins already included with SONAR 2.2.
Integrated multitrack recording, editing,
loop construction, automated mixing, and
delivery of audio and MIDI
Loop Construction
Audio Support
Simultaneously record multiple audio
tracks with support for multiple multichannel hardware up to 24-bit/96 kHz.
Unlimited audio tracks and real-time
effects inserts, 16 auxiliary busses, and up
to 64 virtual main outputs.
and ASIO driver compatibility
(Windows 2000/XP) supports latency as
low as 1.5ms and provides extremely fast
audio processing and mixing including
live input monitoring of effects and
immediately responsive DXi soft synths.
Support for beat slicing and import/export
of ACIDized Wav file as well as live performance of loops using the included DXi
soft Synth Cyclone.
Internal MIDI precision of 960 PPQN for
rock-solid synchronization, recording and
editing accuracy
Real-time MIDI FX plug-ins for nondestructive MIDI editing.
Precise multitrack Piano Roll, Notation,
Event List and Drum Grid MIDI editing.
Individual tracks or entire mixes including
automation, plug-ins and DXi soft synths
can be bounced to a new track within the
current project or exported to disk
Export as WAV, ACIDized WAV or export
audio to AVI, Quicktime or MPEG video.
Encode audio to MP3 with a 30 day trial
version of Fraunhofer MP3 encoder,
RealAudio G2, and Windows Media ASF.
Import/Export of OMFI (Open Media
Framework Interchange) and Broadcast
Wave files — the film, video and audio
industry's standards for saving and transferring digital post-production projects
between different workstation platforms.
Audio/MIDI Editing
Non-destructive slip editing (trimming) of
audio and MIDI data in the Track View
◆ Unlimited undo/redo with history for all
editing functions.
Included Soft Synths
and Effects Plug-ins
MIDI Support
Unlimited MIDI tracks and MIDI I/O
Import multiple file formats: AIF, ASF, AU,
Import/Export Audio
Includes 3 DXi soft synths (4 in SONAR
XL), 16 realtime DirectX audio effects (18
in SONAR XL) and 14 MIDI FX plug-ins.
Control Surface Support
Direct support for the Mackie Control, CM
Labs MotorMix, Tascam US-428 and US224 as well as the Radikal Technologies
SAC-2.2 provide dedicated real-time,
hands-on control of your mix, automation,
effects, and more.
◆ A Global Control plug-in features a learnmode that allows you to quickly integrate
other MIDI-compatible control surfaces.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
Frame-accurate SMPTE synchronization
with variable frame rates and auto-detection of incoming timecode
◆ Able
to send/receive MIDI clock, receive
MMC (MIDI Machine Control) commands
SONAR 2.2 & SONAR XL 2.2
A number of tools are available
for editing audio and MIDI
clips including split, scrubbing,
zooming, snap grid settings
Audio Scale Ruler is a
vertical zoom tool for
audio clips that allows
detailed editing of quiet
The customizable Toolbar ensures that the functions you need
the most (transports, looping, tempo, markers, record mode,
synchronization and more) are always a mouse click away.
You can click on any toolbar and drag it to any location on
the Track View.
The Clips Pane is where you
record and arrange Audio,
Groove and MIDI clips
Track Pane
A dedicated channel strip for
each audio and MIDI track
allows you to control mixing,
automation and effects without
leaving the Track View.
Each channel strip can be
individually resized allowing
you bring into focus the specific
track(s) you’re working on.
Automation data including
mixing and effects for Audio
and Groove clips can be freely
drawn and edited with
sample accuracy using a
choice of 4 shapes – linear,
fast and slow curves as well as
jump (instantaneous change).
Beat–matched Audio
Simply click and drag loops
(Grooveclips or ACIDized
.WAV files) where you want
them and make tempo and
pitch changes to audio in
real-time. Click and drag the
left or right edge of a grooveclip to have a loop repeat. You
can even combine different
loops on the same track.
These tabs allow you to
quickly choose which
items are to be displayed in the track
pane (all parameters),
Mix (volume, pan,
trim), effects, I/O
Crossfades can be created
automatically between
overlapping audio clips using one
of 9 available crossfade presets.
Controller, RPN and NRPN data for MIDI clips
can be edited in the Track View can be freely
drawn using the same tools available to Audio clips
Controller data edited in the Piano Roll or Event
List Views are also displayed with each MIDI clip
The Status Bar
Provides realtime display of the cursor
location, whether the audio engine is
running, how much disk space is
available as well as global Mute, Solo
and record status for the project.
The CPU and hard disk meters allow
you to monitor the status of your system’s available resources.
The zoom tools
provide horizontal
and vertical zoom
down to the
ample level
allowing detailed
audio editing
directly from the
Track View
Audio Loop Construction Toolkit
Use the flexible beat slicing and time
stretching/pitch shifting tools in the Loop
Construction View and incorporate
perfectly beat matched loops alongside
your standard audio and MIDI tracks.
The Loop Explorer allows you to quickly
find, organize, and audition loops in
real-time – even during playback.
Make tempo and pitch changes to audio in
Import and export ACIDized WAV files, or
create loops from any recorded audio, WAV,
MP3, or AIFF file.
Combine an infinite number of different
loops on the same track.
Click and drag to lay down loops when and
where you want them.
Includes hundreds of license free loops.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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Audio Track Controls Include:
Volume, Pan, Input Trim
Mute, Solo, Record arm
Input/output assignment
Effects inserts (insert, bypass)
Aux sends (level, pre/post
assignment, pan, bypass)
Polarity invert
Mono/Stereo assignment
Input/Output Meter (switchable
peak, RMS and peak + RMS with
clip indicator and Hold function)
MIDI Track Controls Include:
Volume, Pan
Velocity + (Velocity trim)
MIDI input/output channel
MIDI port assignment
Bank and Program selection
with patch lists provided for all
major synths
MIDI effects inserts (insert)
General MIDI compatible
Chorus and Reverb send controls
Key + (transpose)
Time + (time offset)
The time ruler is switchable between Measures/Beats/Ticks,
samples, Hrs/Mins/Secs/Frames. The shaded area represents
loop and punch points
SONAR’s streamlined Track View is the heart of your recording and editing environment. What’s great about this view is that you can do all of
your recording, arranging, mixing, and most (if not all) of your editing in one place. This really maximizes your creative workflow.
SONAR 2.2 & SONAR XL 2.2
Console View
Although you can control a complete mix directly from the Track View window, the Console View provides an alternative
for mixing and automating audio and MIDI tracks using a familiar hardware-style mixing interface.
Console View channels include audio,
MIDI, auxes, virtual mains (master outputs).
Each audio and MIDI track includes
level, pan, mute, solo, record arm and
comprehensive metering as well as access
to plug-ins, auxes, busses and I/O routing.
pull down menu lets you to decide
which audio and MIDI channels are to be
◆ Automation
created in the Console View
is automatically reflected as envelope
automation in the Track View and
Remote control of all mixing parameters
are available via MIDI.
Fully-Automatable DirectX 8
Realtime Audio Effects
Includes the following fully-editable,
fully-automatable 32-bit DSP-FX audio
plug-ins designed by Power Technology
— StudioVerb, Parametric EQ, Delay,
Chorus and Flange
◆ Automation
can occur directly from the
effect’s interface, via MIDI or for an even
higher level of precision, by drawing
vector envelopes in the Track View
◆ Additional
32-bit, non-automatable
effects include: EQ, Expander, Gate,
Limiter, Tape Saturation, Pitch Shifting,
and more
Real-time, live input monitoring of
effects is possible when using audio
hardware that supports WDM drivers
Expand Your Suite Of
Audio Processing Tools
Hundreds of additional DirectXcompatible audio plug-ins are available
from industry-leading third party
developers including Antares and Waves
Alien Connections – ReValver
– Virtual Guitar Amp Systems
Combining a wide variety of realistic
pre-amp models with EQ, power amps
and cabinets with post- EQ, and effects
that can be routed in virtually any order —
provides nearly endless possibilities
◆ Automatable
parameters allow you to
switch or morph between different guitar
tones within one track
SONAR 2.2 & SONAR XL 2.2
DXi (DirectX Instruments)
Synth Rack
DXi synths are CPU efficient with low
latency — unlimited DXi synths can be
loaded simultaneously (CPU dependent)
with full automation and multiple output
Three DXi instruments are included while
additional DXi synths are available separately from leading developers including
Native Instruments, IK Multimedia and
The Synth Rack View allows you to
easily insert instruments or ReWire
devices into your project. It makes
loading and working with synths in
your project a snap – host Audio and
MIDI tracks with proper I/O
assignments are created automatically
when an instrument is loaded
◆ View
all of the loaded DXi synths at a
glance along with their current presets
Cyclone DXi Groove Sampler
Audio Simulation – DreamStation 2.0 DXi
Polyphonic Analog Synth
DXi is the open standard for soft synth
plug-ins, based on Microsoft’s DirectX
◆ Waveforms
include sine,
triangle, sawtooth, pulse, square
and noise.
◆ Accurately
reproduces analog synth sounds
by modeling analog circuits and oscillators.
Combines subtractive synthesis with FM
3 oscillators, multimode self oscillating IIR
filter, VCA, LFO, user EG for each voice.
Filter types include 12dB/Octave
Lowpass, Highpass, Bandpass,
24dB/Octave Lowpass and
Up to 16 voices polyphony.
Linear frequency modulation, Hard
synchronization, Ring modulation,
Supports sample rates up to 96kHz.
Cyclone is a 16-part groove sampler, composition tool, and loop editor wrapped up
in a single DXi synth – Load up to 16 loops
(ACIDized .Wav or SONAR Groove Clip)
or samples onto the 16 trigger pads and
create loop-based compositions in realtime using any MIDI device, MIDI tracks,
computer keyboard, or mouse.
◆ Samples will automatically match the
tempo and pitch of your project.
◆ Rearrange, combine, slice, tweak, and customize samples to create new grooves.
◆ Control gain, pitch, and pan of individual
loop slices.
◆ Fully adjustable loop points allow you to
create unique polyrhythmic textures
◆ Supports multiple outputs & key mapping
◆ Export combined loops as a Groove clip
that can be used in SONAR & other apps
◆ Snap to grid with assignable resolution.
◆ Slice preview
Virtual Sound Canvas 1.5 DXi
Modeled after one of the world’s most popular
sound modules
16-part multi-timbral up to 128-voice polyphony
GM2/GS compatible – 902 tones plus 26 drum
Reverb, chorus and delay effects
ReWire 2.0 Support
Patch Cakewalk’s own Project5, as well as Propellerhead’s Reason, ReBirth, and other
ReWire 1.0 and 2.0 compatible devices right into the Synth Rack.
Route ReWire channels into audio tracks and process with DirectX effects
◆ You
can even use MIDI FX, automation, and sequencing capabilities to control Reason
◆ Add VST
instruments and effects with an optional VST to DX converter.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
SONAR 2.2 & SONAR XL 2.2
MIDI Processing and Editing
Quantize from a whole note to 32nd note
triplets with multiple parameters including
strength, swing, window and offset
Groove Quantize functions include
importing DNA grooves and extracting
timing info from audio files
Drum Grid Editor
Paint rhythmic patterns in a single
mouse stroke using hundreds of
included Smart Loops patterns, or
create your own
Custom drum maps – preview
and create kits with real-time
remapping across multiple MIDI
devices, multiple outputs as well
as DXi synths
◆ Additional
MIDI processing functions
include transpose, slide, scale velocity and
retrograde (reverse)
Multitrack Event List
Provides a list of all selected events
occurring in all selected tracks
display filter lets you to specify the data
type(s) to be viewed and edited (notes,
pitch bend, controller, etc...)
Multitrack Piano Roll
The multitrack piano roll is a flexible and
intuitive display that lets you select, and
edit multiple tracks of MIDI notes and
controller data simultaneously with a 64th
note grid line resolution
Includes monophonic and polyphonic
Pattern Brush tool that allows you to paint
complex MIDI parts
Create Scores Fast
◆ View
and edit MIDI events in
standard notation, then print sheet
music of complete arrangements
or individual parts in sizable fonts
Print 24 staves per page, along
with lyrics, chord grids, percussion
notation, dynamic markings, and
enharmonic spellings
Guitar tablature with customizable
fretboard display
dedicated Lyrics view displays
scrolling text during record or
MIDI FX plug-in library
Non-destructively edit MIDI tracks with 14 included real-time MIDI FX
Real-time MIDI plug-ins can be used on input, applied in as track inserts in the Track or
Console view, or used as off-line commands
Session Drummer —
◆ Create and arrange drum patterns in realtime, selecting from a library of professional
MIDI drum performances or your own
MIDI drum tracks
NTONYX Style Enhancer Micro 2.0 Lite —
Uses performance modeling in real-time to
give MIDI recordings a more "human" feel
SlicyDrummer Lite—
Instantly create drum loops by mixing and
matching prerecorded patterns for each
individual drum instrument
MusicLab Rhythm'n'Chords 2.0 Lite—
Easily create MIDI rhythm guitar parts –
Enter chord symbols, select a rhythm pattern and your guitar part is ready
MusicLab VeloMaster Lite —
Real time MIDI dynamics processing of
note velocity using an interactive graph.
MusicLab Looper —
Create and edit MIDI loops – simply select
the section a part of the track you want to
loop, and drag it into the Looper window
◆ Quickly find and audition loops from your
MIDI loop libraries.
MusicLab Fixed Length —
Quickly set note lengths for your MIDI
tracks – a compressor/expander for note
Plus the following additional plug-ins:
Arpeggiator, Quantize, Delay/Echo, MIDI
Filter, Transpose, Velocity and Chord Analyzer
SONAR 2.2 & SONAR XL 2.2
The DR-008 is a powerful DXi drum
sampler and synthesizer that provides
advanced analog drum modeling
(808, 909, etc...), flexible 32-bit sample
playback (Wav, Aiff, LM4, etc...)
along with pattern-based sequencing.
Other features include 96 virtual
drum pads for loading samplers and
drum models, 8 stereo outputs, 8 aux
outputs and a variety of editing
functions for each pad. Six samplebased drum kits are included.
The Timeworks Equalizer is a fully-automatable,
64-bit mastering EQ with a integrated 30-band
spectrum analyzer and phase meter. Both clean
and vintage EQ algorithms, high and low shelf
filters with resonance, 6 bands of bell filters,
sweepable filter points, and adjustable Q
The Timeworks CompressorX is a pristine
sounding, versatile, 64-bit, fully-automatable
mastering-quality compressor. It features hard
or soft-knee compression, no-clip brick wall
limiting, ultra-fast attack/release times, and
analog-style metering
Support for Digidesign audio hardware, including the Digi 001, 002, Mbox, and Pro Tools HD
products using ASIO drivers under Windows XP.
Sonar 2.2 and XL 2.2 System Requirements
Processor Speed
Windows Me/2000/XP
500 MHz
1.2 GHz
64 MB
256 MB
Operating System
SONAR 2.0 XL provides all the capabilities of SONAR plus two 64-bit, fully-automatable DirectX 8 mastering effects, and an advanced DXi soft synth drum sampler.
Hard disk space
100 MB for full program installation
Hard disk type
EIDE/Ultra DMA (7200 RPM) or SCSI Hard Drive
Graphics (resolution; color depth)
800 x 600; 256 colors
1024 x 768; 24-bit color
MIDI Interface
Sound Card [1]
Windows- compatible
WDM compatible [2]
1. Required for audio playback
2. Requires Windows Me/2000/XP
Pyro 2003 – Complete MP3 and CD Maker
Pyro provides an integrated environment that allows you to play, organize, edit, and restore your digital music, create audio
and data CDs and download their music to a portable player. Pyro allows you to make MP3s, burn CDs, digitize and clean
old LPs or cassettes, archive important data files and more — all within one centralized user interface.
Quickly turn your CDs into MP3s, WAV or
WMA files
◆ Quickly locate and organize all the music
files on your PC.
◆ Create unlimited MP3s
◆ MP3 files open automatically in Pyro’s
unique preview display waveform within
◆ Convert LPs and cassettes into CDs, MP3s,
WAV, WMA files.
◆ Auto-recorder with timer for recording LPs,
cassettes and internet broadcasts.
◆ Rip individual songs or entire albums
Split long audio files into multiple tracks
Fully-integrated 64-bit EQ as well as click
and noise removal.
◆ Integrated audio editor with waveform
preview: non-destructive audio editing; edit
fades, crossfades & volume visually
◆ Automatic crossfades and volume normalization between overlapping tracks.
◆ Instantly download song titles and artist
info from Gracenote/CDDB.
◆ Portable music player support
◆ CD labeler kit included
◆ Back up your valuable PC files to data CD
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Affordable Audio and MIDI Recording Software
Cakewalk’s Home Studio 2004 and Home Studio XL are simple yet powerful recording tools, for
the entry level musician and songwriter, based on Cakewalk's SONAR next-generation audio and
MIDI technology. Home Studio 2004’s intuitive Track View window lets you quickly record, edit,
arrange, mix and automate unlimited audio and MIDI tracks in a single window.
Acid style loop creation allows you to create and modify loops to match the tempo
and pitch of any music project. A CD featuring an ACIDized loop library is included.
Both programs include a number of DirectX audio effects and DXi Soft Synths, as
well as MIDI effects with support for third party plug-ins. Both Home Studio 2002
and Home Studio XL are compatible with Windows 98/98SE/Me/2000/XP.
Record and play back unlimited audio and
MIDI tracks.
Support for 16- and 24-bit audio up to
960 PPQ MIDI resolution
Real-time mixing console view
16 simultaneous real-time audio effects
plus 16 simultaneous real-time MIDI
2 Auxiliary busses and 1 virtual Main Buss
DirectX automation support
Import .Wav, ACIDized .Wav and MP3
files and export to .Wav, MP3 and Real
Audio G2
Loop-based song construction tools with
automatic tempo and key matching of
Groove-Clips and ACIDized .Wav files
Non-destructive slip-editing of audio and
MIDI clips
Unlimited number of edit undos
◆ Audio
and MIDI envelope automation of
volume, pan, aux sends and MIDI
controller data
Bounce down individual tracks or an entire
mix with automation and effects
Professional MIDI editing including
multitrack piano roll view and SysEx
Integrated DXi Soft Synth Plug-ins include
Virtual Sound Canvas and DreamStation
with support for third-party plug-ins.
Includes 6 realtime audio effects including
Amp Sim Lite, Reverb, Chorus, Delay,
Flange, EQ with support for hundreds of
available third-party DirectX plug-ins.
5 realtime MIDI effects – Arpeggiator,
Quantize, Delay/echo, Change Velocity,
MIDI event filter, Session Drummer,
NTONYX Syle Enhancer Micro 2.0 Lite
and MusicLab VeloMaster Lite.
Import and synchronize AVI video to
music projects
Compose, edit and print sheet music, along
with chord symbols, guitar chord grids,
lyrics, dynamic markings
Remote Control (for MIDI Gear)
Includes a complete library of ACIDized
audio loops as well as Fruityloops Express
loop generator.
Burn CDs and create MP3s with trial
version of Pyro.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
Home Studio XL Adds—
FXPansion DR008 SE Drum Sampler
◆ An
extra CD containing over 600 loops
from the Smart Loops collections, also
including dance and techno loops from
PowerFX and X-Mix
◆ AFX1
- Total Dynamics Processing - A
complete home studio mastering suite:
Compressor/gate to keep levels similar, a
limiter to keep your volumes below a set
threshold, and an expander/gate to make
loud parts louder and soft parts softer.
up to 24-bit
96 kHz
limited trial
Home Studio XL
1 at a time
up to 24-bit
48 kHz
limited trial
Home Studio 2004
1 at a time
up to 24-bit
48 kHz
limited trial
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
up to 24-bit
96 kHz
limited trial
Cakewalk Product Comparison
Number of Audio Tracks
Number of MIDI Tracks
Number of real-time audio effects
Number of real-time MIDI effects
Control surface Support
Synth Rack
Multi-port Synths
DXi 2.0 support
Rewire 2.0 support
Advanced Project Management
Cyclone DXi
Yamaha OPT Panels Support
Multi-port drum editing
# of Aux Buses
Virtual Main Buses (Stereo Outputs)
Direct X Automation Support
Direct X Automatable Plug-Ins
Audio FX 1 Plug
Audio FX 2 Plug
Sonic Timeworks EQ
Sonic Timeworks Compressor X
Import ACID .wav files
Loop Construction View
Assorted ACID-format Loops
Unlimited Undo
Bounce Down Tracks
Audio Envelopes
MIDI Envelopes
Professional MIDI Editing
Virtual Sound Canvas DXi Soft Synth
DreamStation DXi Soft Synth
Live Synth DXi
DR008 DXi Drum Sampler
Fruityloops 2.7 Express
FX Pad (DX8 plugin)
Real Time Audio Effects
Real Time MIDI Effects
Multiple Monitor Support
Studioware Panels
Multiple Sound Card Support
Lyrics and Markers View
Compose and Print Sheet Music
Sysx Editing
Audio Support
Max Sample Rate
Remote Control (for MIDI Gear)
CAL Programming Language
Fraunhofer MP3 Export
Export to WAV, Real Audio G2
Soft Synth Workstation
Project5 is a complete virtual studio that combines a suite of DXi compatible soft
synths and samplers with sequencers, audio and MIDI effects and Acid-compatible
audio looping tools — all in a single integrated production environment. The Project5
soft synths include a polyphonic analog-modeling synth, multi-format compatible
professional sampler, drum synthesizer, sampling drum machine as well as the
coveted Cyclone DXi groove sampler. The Project5 sequencers allow real-time and
step-recording, as well as piano-roll style editing and step sequencing. Project 5’s live
performance audio engine provides you with realtime control over the soft synths and
samplers with advanced, user-configurable synth layering and keyboard mapping, as
well as the ability to trigger patterns in realtime. Project5 also allows you to customize
and expand your studio’s arsenal with support for additional soft synths, audio and
MIDI effects, sample libraries. Everything in Project5 is automatable! That means that
you can automate every mix, synth, and effect parameter. Make changes on screen or
use learn mode to quickly integrate your favorite hardware surfaces and MIDI devices.
Project 5 will work with any WDM, MME, or ASIO-compatible Windows hardware,
and also sends MIDI Sync to outboard sequencers. In addition, Project5 instruments and effects will integrate directly into
SONAR. Project5 comes packed with nearly 2 CDs of professional samples and ACID-format loops from Q-Up Arts,
FXpansion Audio, ProSamples, and Smart Loops.
P-SEQ - Pattern Sequencer
Easily create and edit music and
automation using an intuitive “piano roll”
style pattern sequencer that superimposes
track automation with note data.
Record using step and real-time modes
Pattern preview, auto-looping, and a range of editing tools allow you to tweak each pattern to
◆ You
can automate track and MIDI data as well as any DXi or audio effect parameter.
The Pattern Bin lets you browse, organize, and audition multiple patterns. Patterns can be
dragged to the Pattern Editor for additional editing.
◆ All
data can be treated as a pattern and automation can be written to pattern independent
of note data. Edited patterns can be sent to a track where you can click and drag to repeat
patterns for the required duration, and cut and paste patterns to when and where you like.
SYNCHRON32 Step Sequencer
◆ ACID-compatible
loop integration with
automatic beat matching, flexible time
stretching/pitch shifting, and support for
multiple loops per track. Click and drag to
roll out tracks using ACIDized loops that
match your projects tempo and pitch.
◆ Advanced
synth layering and keyboard
mapping capabilities allow you to perform
and record using multiple MIDI controllers routed to multiple instruments; or
use multiple, layered instruments or split
synths from one MIDI controller.
◆ Analog
hardware-style step-sequencing
allows you to quickly generate patterns,
trigger synths, and trigger patterns in
real-time from MIDI devices.
Provides 32 steps with control over pitch; rhythmic duration with shuffle; tempo sync;
per-step flam, legato, bends; polyphonic mode; 32 banks for pattern presets.
◆ After
creating patterns in SYNCHRON32, you can simply right click in the Track View and
select from the list of preset patterns. Then click and drag to repeat patterns for the required
duration, and cut and paste patterns wherever you like.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
The realtime live performance audio
engine provides a continuous musical
workflow, allowing changes to be made on
the fly and never compromises playback.
PSYN — Virtual Analog Synth
Flexible and easy-to-use with support for
up to 8 layers, 64 voice polyphony and 8
audio outputs.
Supports key mapping and velocity zones
Sample-level editing and effects for creation of new sounds.
Two resonant filters with key tracking can
be configured in series or parallel
Four 6-stage envelopes with multiple slopes
Support for Akai S5000/6000, Kurzweil,
Sound Fonts 2, WAV, AIF, and proprietary
sample formats.
◆ Access
a rack worth of quality automatable
DX audio effects including: Envelope/LFO
Filter; Stereo Delay/Echo with tempo sync;
Exciter; Classic Phaser; Studio Reverb;
Stereo Chorus/Flanger, Stereo Graphic and
Parametric EQ; and a Compressor/Gate.
Spectral Transformations
nPulse — Analog Modular
Drum Synthesizer
Automatable Effects
Cyclone — Groove Sampler
12-voice multi-timbral drum synth with
one oscillator per voice combines the vintage-style electronic drum voices of classic
TR-series drum machines, with the flexibility of modern day soft synths.
◆ 5 assignable outputs; multiple presets; sync
effects; key-mapping.
Velocity — Drum Sampler
Turn your audio inside out with six unique
realtime effects integrated into one plug-in.
Transposer – real-time pitch shifting produces major tonal changes ranging from
high reedy sounds, to richer low sounds.
◆ Accumulator – glissando, delay, pitch
bends and reverberation effects.
◆ Exaggerator sweeps through the peaks and
valleys of spectral frequencies bands.
◆ Lo-Hi Filter removes frequencies above or
below specified frequency levels.
◆ Tracer allows you to thin the sound until
only a ‘trace’ of its former self remains.
◆ Shifter adds/subtracts the values to various
frequency components.
16-part, ACID-compatible groove sampler,
composition tool, and loop editor.
Trigger loops in real-time following the
tempo and pitch changes of a project.
Edit individual slices of individual loops,
and even combine parts of multiple loops.
Expand and Customize
◆ Add
The multi-timbral drum sampler provides
18 polyphonic voices with up to 32 velocity-layered samples and 5 stereo outputs.
◆ Precise sample editing with effects.
Supports WAV, AIF, LM4, and proprietary
format sample formats.
DXi or VSTi synths to expand your
studio. Use Project5 instruments and
effects directly in SONAR.
◆ Edit and mix using the included audio &
MIDI FX. You can also add third party
MFX or DX effects as well as VST effects
using the included VST/DX adapter.
fully automatable, 64-note polyphony,
subtractive synthesizer with multiple filters, oscillators, envelope generators, and
LFOs designed to give you access to classic
70s analog and contemporary electronic
sounds. Other features include: a modulation matrix that provides tempo sync
effects; portamento, ring modulation, FM
synthesis and more.
DS-864 — Digital Sampler
Integrate Project5 with a ReWire-compatible host like SONAR 2.x for advanced
audio recording, editing, and mixing.
◆ Works
with any WDM, DirectSound, or
ASIO compatible Windows hardware.
Sends MIDI Sync to outboard sequencers.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Multitrack Recording Software For Guitar Players
Guitar Tracks Pro and Guitar Tracks 2 are straight forward digital audio recording and mixing
applications for the Windows platform, that combine the ease of use of a portable multitrack
cassette recorder with the power and flexibility of your PC. Each software package provides all
of the recording, mixing, and editing tools the guitarist or singer/songwriter needs to achieve
professional results. Guitar Tracks 2 features two track simultaneous record and eight
track playback at 16-bit/48kHz. Guitar Tracks Pro features up to 32 simultaneous
record/playback tracks with support for 24-bit/96kHz audio hardware. Both packages
also feature guitar amp simulator plug-ins and other high-quality DirectX effects with
support for third party plug-ins, a software-based drum loop generators and a
chromatic-tuner. Whether you are a seasoned pro that needs a scratchpad for capturing
ideas at the drop of a hat, or taking your first step towards computer-based recording,
you will find that the no nonsense user interface and transparency of Guitar Tracks 2
and Guitar Tracks Pro will not stand between you and your music.
Guitar Tracks Pro Adds –
Record and playback up to 32 tracks of
digital audio.
◆ 32-bit mixing and audio effects, and
support for up to 24-bit/96 kHz audio
◆ Clip-based envelope mixing
◆ Dynamics processing including
compressor, gate, expander
◆ ReValver SE guitar amp simulator lets you
choose and tweak various pre-amps and
power amps, 9-band EQ, Auto-Wah, and
Stereo Reverb
◆ Fruityloops Express drum loop generator
provides unlimited beat sequences with a
variety of drum kits, audio samples, and
drum patterns to use or modify.
◆ ACIDized audio loop library included
Multitrack cassette recorder interface —
just plug in your guitar or a mic into your
sound card and start recording
◆ Record, edit and mix up to eight tracks of
digital audio (32 tracks with Guitar Tracks
Pro) and Mix down to stereo WAV files to
burn CDs or make MP3s for the Internet
(Trial version MP3 Encoder Included)
◆ Easy punch-ins, looping, and locate markers help the creative process keep moving
◆ The Edit View lets you move around song
ideas with drag and drop ease
◆ Cut, copy and paste audio clips with the
click of a mouse
◆ Digitally bounce audio for virtually unlimited tracks
◆ Includes stereo EQ, delay, flange, chorus,
reverb and guitar amp simulation with two
vintage amp models, British Overdrive and
American Lead
◆ DirectX plug-in compatibility provides
access to hundreds of 3rd party plug-ins
◆ Built-in chromatic tuner
◆ Includes Drag-and-Drop Drummer Lite –
a simple tool that lets you construct proquality drum tracks from a library of digital audio drum loops
◆ The included SlowBlast guitar practice
software lets you grab a guitar riff from an
audio CD, slow it down, without changing
its pitch and loop it until you learn it
System Requirements
Windows 98, 98 SE, Me, 2000, XP
300 MHz processor; 64 MB RAM; 100 MB
free hard disk space, CD-ROM drive and a
Windows-compatible sound card
Maximum Number of Tracks
Highest Supported Audio Format
Multi-channel Audio Card support
Max # of Simultaneous Effects
ReValver SE Amp Simulator
Dynamics Processing
ACIDized Loop compatible
Chromatic Tuner
Fruityloops Express
AT 349 W. 34th STREET (with purchase of $100 or more)
Guitar Tracks Pro
24-bit/96 kHz
Guitar Tracks 2
16-bit/48 kHz
Stereo only
Music Creation Tool
Step Sequencer
jpg and
Piano Roll
CD quality 16Bit/44KHz stereo output
Export loops and songs to .WAV, MP3, and
MIDI Out –
controls all
parameters of
your external
MIDI gear or
Includes five polyphonic soft synths, over
3000 samples, and 250 loops right out of
the box.
◆ Integrated TS-404 bass line generator
Unlimited number of tracks and samples
Pattern-based sequencing with 4 to 64
notes per pattern.
Piano Roll view with chords, note lengths
and slides
External control from MIDI keyboard or
PC keyboard.
Integrated sample browser
Control panning, volume, pitch, mix, and
tonal characteristics for individual samples
Playlist view for mixing several patterns
Peak meters
Skin support for custom graphics
BeatSlicer support
Minimum System
Windows 95/98/Me/2000, Pentium class
200MHz processor, 32MB RAM, Windowscompatible audio hardware, CD-ROM drive
Plucked –
plucked string
TS-404 –
3xOsc - three
DXi Soft Synths
Supports DX Instruments (DXi) from
Cakewalk and includes the Dreamstation
DXi soft synth.
◆ Additional
software synths are available
from leading manufacturers like Native
Instruments, Edirol and many others.
can record movements you make on
any wheel or slider in Fruityloops or on
your external MIDI controller in realtime.
◆ Automation of main sliders, volume,
effects, oscillators, resonance, cut-off, panning, mute, effects sends, tempo, and more.
◆ After recording you can edit it all in a
handy, graphical event editor. You can also
draw in automation data or use an
◆ LFO generator to automatically create fluent automation movements.
Create and Mix On The Fly
Create drum and melodic patterns using
Fruityloops instruments and the included
Piano Roll view. Then arrange your patterns
using the Playlist view to create your own
songs and mixes.
◆ You
DirectX & VST Plug-in Support
16 auxiliary effects channels and one master effects channel is provided for patching
DirectX audio effects.
plug-ins are also supported including:
7 Band EQ, Bassboost, Overdrive,
Ultrafunk Compressor, Delay, Fast LP,
Filter, SmartElectronix Flanger, Free Filter,
SmartElectronix Phaser, Ultrafunk Reverb,
and more.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Standalone and VSTi includes a wide variety of sound generators, sampled sounds,
and emulations of vintage gear combined
into one easy to use program
FruityLoops is a hybrid loop creation and drum sequencing tool for Windows 2000 PCs,
that combines loop generation, synth emulation, and pattern-based sequencing within a
user-friendly photo-realistic interface. Features include an integrated BeatSlicer and
Sample Browser, CD-quality stereo output, an integrated TS-404 bass line generator, a
virtual keyboard, MIDI and DirectSound support, and individual
panning/volume/pitch/mix controls. In addition to the built-in effects and sound
generators, FruityLoops also provides support for DXi soft synths and DirectX audio
effects. You can export samples to WAV, MP3, or MIDI files.
2 Channel USB-powered Pro Tools LE-based Micro Studio
Mbox is a compact and affordable 2-channel USB-powered audio
interface for MacOS 9.1 and up, MacOS X 10.2.3 and up, and
Windows XP, that’s been specifically engineered to offer the
home/project studio and the pro who needs a studio quality digital recording, mixing and editing environment that can be taken
virtually anywhere. Mbox features a pristine 24-bit input-to-output signal path with two Focusrite designed (Green Range) mic
preamps accessible via 1/4˝ TRS / XLR analog inputs; two 1/4˝
analog outputs as well as 1/8˝ and 1//4˝ headphone jacks with a
dedicated volume control for monitoring. A 24-bit stereo S/PDIF
digital I/O is also provided for transferring data to and from the
Mbox entirely in the digital domain. Every Mbox includes
ProTools LE software which features 32 audio tracks and 128
MIDI tracks along with a host of RTAS (Realtime) and AudioSuite (File-based) effects plug-ins.
Two analog inputs featuring two Focusrite
mic preamps with variable gain and
switchable 48V phantom power.
XLR, 1/4˝ inputs using Neutrik combo
connectors with separate source selection
(MIC/LINE/INST) and gain controls with
peak LEDs per channel.
Two analog inserts, using 1/4˝ TRS connectors, allow you to use outboard processors while recording to disk.
1/4˝ TRS left and right outputs with 24-bit
D-to-A converters.
Support for 44.1 kHz and 48 kHz sample
24-bit signal path from input to output
24-bit coaxial S/PDIF digital I/O allows
you to work entirely within the digital
Zero-latency monitoring
Inputs and outputs accept both balanced
and unbalanced connections.
1/4˝ and 1/8˝ headphone outputs with
dedicated volume control.
100% USB powered
Mbox sessions can be migrated to another
Pro Tools platform, from Digi 001 to Pro
Tools|HD, for further manipulation.
Includes a USB cable
Software Supplied
with System
Mic pre-amp: > -120 dB EIN @ > 40 dB gain
A/D Dynamic Range: 101 dB (A-weighted)
99 dB (unweighted)
Maximum Input:
+24 dBu
D/A Dynamic Range: 103 dB (A-weighted)
101 dB (unweighted)
Frequency Response: 20 - 20k Hz (±0.5dB)
Maximum Output:
+4.2 dBu
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
Pro Tools LE Software — 32 audio tracks,
128 MIDI tracks with powerful editing,
mixing real-time plug-in support and
DigiRack RTAS and AudioSuite Plug-Ins:
D-Verb, Dither, Dynamics II, EQ II,
Invert/Duplicate, Mod Delay,
Normalize/Gain Change, Reverse/DC
Removal, Signal Generator, Time CompExp/Pitch Shift, Trim
Digidesign ASIO Driver for Windows XP
allows you to use the Mbox with a wide
range of popular third-party audio apps
such as Cakewalk SONAR 2.2,
Propellerhead Reason and Ableton Live.
DigiStudio is featured component of
ProTools software that provides a
revolutionary way to collaborate with
other Pro Tools users via the Internet.
DigiStudio participants interact from
any Net-connected location to exchange
Pro Tools session media, from raw
audio tracks to MIDI data to plug-in
information to automation.
DIGI 001
PCI-based Pro Tools LE Music Production System
18 Simultaneous
Inputs And Outputs
◆ All
inputs and outputs run at a 24-bit
resolution at 44.1 or 48 kHz sample rates
Eight channels of 1/4˝ balanced analog
inputs and outputs
2 mic preamps, with switchable phantom
power, variable and a switchable 26dB pad
are provided on the front panel.
Eight channels of ADAT optical I/O
(located on the PCI card)
Coaxial S/PDIF digital I/O
One MIDI In and one MIDI out port is
provided for accessing an external control
surface, keyboard controller, synth,
sampler or other MIDI device.
pair of 1/4˝ TRS stereo monitor outputs
with a dedicated volume control run in
parallel to the Main outputs (outputs one
and two).
Headphone output with separate volume
1/4˝ footswitch port for QuickPunch
recording control.
Rack ears are provided for installing the
I/O box in a standard 19˝ rack.
The Digi 001 is a computer-based
24-bit digital audio workstation system that offers a seamless hardware
and software solution, on both the
MacOS and Windows platforms, for
project studios and production
The Digi 001 system combines a
rackmountable breakout interface and
PCI card that together provide 18
channels of simultaneous analog and
digital I/O, including two high-quality
mic preamps and MIDI I/O. Also included is the latest version of Digidesign’s powerful recording, mixing, automation and
editing software, Pro Tools LE, which offers 32 tracks of audio, 128 MIDI tracks as well as real-time (RTAS) plug-in support.
Digi 001 Factory Bundle
◆ With
over $2,400 worth of plug-ins from
Digidesign and their Development Partners
the Digi 001 Factory bundle is an ideal
choice for rounding out your home and
project studio production environment.
Plug-ins include:
Digidesign’s D-Fi, D-Verb and Maxim
combining a unique blend of creative
processing plug-ins, high-quality reverb
and mastering tools.
The classic analog sounds of the 1176,
LA-2A compressors and the moogerfooger Lowpass filter from Bomb
Supertap, Metaflanger and Q10 EQ from
Native Instruments Dynamo 001 Edition
analog synthesizer
◆ Also
includes the iLok USB Smart Key
which provides a portable, convenient
way to store software authorizations.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
DIGI 002
FireWire-based Pro Tools LE Music Production System
The Digidesign Digi 002 is a 24-bit/96kHz FireWire-based mini studio that
combines a touch-sensitive control surface borrowed technology
from Digidesign’s Control|24; an audio interface with eighteen
simultaneous audio ins and outs, including 4 mic preamps;
MIDI I/O; along with the latest version of Pro Tools LE
software that works with both Windows XP and Mac
OS 9.x and Mac OS X 10.2.3 and higher. The Digi
002 delivers seamless integration between hardware
and software as each and every adjustment of the
control surface is reflected in the Pro Tools LE software
interface — and vice versa. Adding even greater flexibility, the Digi
002 can be uncoupled from Pro Tools and used as a stand-alone mode as an
8x4x2 digital mixer with onboard EQ, dynamics, delay and reverb. The Digi 002 comes bundled with over $2200 worth of
high-powered plug-ins from Digidesign, IK Multimedia, Native Instruments, and Waves.
◆ Audio, MIDI
and control surface
information is passed over a single
IEEE 1394 FireWire cable.
◆ All
audio is processed at 24-bit resolution
with sample rates up to 96 kHz providing
a dynamic range greater than 108 dB.
18 Simultaneous Channels
of Inputs and Outputs
8 simultaneous 24-bit/96 kHz analog
inputs: eight 1/4˝ TRS inputs and four
XLR mic pres with individual gain and
high-pass filter; 48V phantom power
enabled on channel pairs.
◆ Eight 1/4˝ TRS analog outputs with
24-bit/96 kHz D-to-A converters
◆ Left and Right 1/4˝ TRS Monitor outputs
(+4 dBu) with dedicated volume control
mirror Main outputs 1 and 2.
◆ 1/4˝ TRS headphone output with dedicated
volume control knob
◆ Unbalanced RCA –10 dBV fixed output
◆ Eight channels of ADAT optical I/O (up to
48kHz), switchable to 2 channels of optical
S/PDIF I/O (up to 96 kHz).
◆ Two channels of coaxial S/PDIF digital I/O
supporting up to 24-bit, 96 kHz audio
◆ Alternate RCA –10 dBV inputs for
monitoring tape decks, CD players, etc.)
The top panel is arranged into four sections:
The Fader section includes eight channel
strips; The Console/Channel View section
provides controls for viewing and controlling inserts, plug-ins and sends; The
Transport and Navigation controls access
many on-screen navigation features.
One MIDI In port and two MIDI Out ports,
providing up to 16 MIDI input channels
and 32 MIDI output channels can be used
for adding a keyboard controller and/or
external synths and samplers, etc.
◆ 1/4˝ TRS Footswitch for QuickPunch I/O
Included Software
Additional Features
Control Surface
Includes the latest version of Pro Tools LE software as well as a number of high quality plug-ins,
offering more power and flexibility than ever before including up to 32 tracks. The free plug-ins
are valued at over $2,250 and include: SampleTank LE and Amplitube by IK Multimedia, D-Fi,
D-fx and Maxim by Digidesign, PR0-52 by Native Instruments, Renaissance Collection by Waves
Stand Alone Mixing
The Digi 002 can be used in stand-alone
mode, (without your computer) as an 8x4x2
digital mixer with onboard effects (including dynamics processing, EQ, delay and
reverb) and snapshots.
Four sends on each input channel:
Sends 1–2 dedicated to internal Delay and
Reverb effects
Sends 3–4 can be used for integrating external effects.
8 analog inputs including 4 mic preamps,
with dedicated volume, pan, solo and mute
Stereo Main and Monitor 1/4˝ TRS (+4dBu)
outputs plus an alternate Main Output pair
(–10 dBV) that mirrors the Main Outputs.
Dedicated three-band EQ available on input
channels 1–8
Stereo headphone output with level control
Dedicated Compressor/Limiter available on
input channels 1–4
10 scribble strips for pan/volume and effects
control, send levels, and track names
Built-in high-quality Reverb and Delay
Channel metering available using rotary
encoder LED rings (in Meter mode)
DIGI 002
Instantly switch between
channel views – EQ,
Dynamics, Inserts and
Multi-purpose scribble
strips for displaying track
name, pan, send, fader,
plug-in values and
timeline position.
Status indicators displays
MIDI, FireWire and L/R
output activity in realtime
as well as the currently
selected sample rate
velocity-sensitive rotary
encoders with LED position
Specialized function keys for
Pro Tools software and
standalone mode
Navigation buttons can be
assigned for fader bank select,
zoom in/out and nudge
enable buttons
Eight 100mm motorized
touch-sensitive faders
Transport controls – Play,
Record, Stop, FF, Rew and
Return To Zero
Two IEEE-1394 FireWire Ports — the
first port connects the Digi 002 to the
“Host” computer while the second port
allows you to daisy-chain additional
peripherals such as FireWire hard drive.
Eight simultaneous balanced inputs: four 1/4˝
TRS line / instrument inputs and four XLR
mic inputs (channels 1 -4); and four 1/4˝ TRS
line inputs (channels 5-8).
Digi 002 Rack — 2U FireWire Interface
Digi 002 Rack is Digidesign’s first rackmount FireWire-based Pro Tools
product. Designed with both recording and performing musicians in mind,
Digi 002 Rack features analog, digital and MIDI I/O, 24-bit/96 kHz converters,
and 32-track Pro Tools LE software to provide you with a creative playground like no other.
single FireWire/IEEE-1394
cable conveys all digital
audio, MIDI data, and Pro
Tools data between Digi 002
Rack and your PC or Mac
◆ 24-bit/96 kHz fidelity
◆ 18 channels of audio I/O: 8
analog (with 4 mic preamps),
8 ADAT optical, and 2 S/PDIF
◆ Integrated MIDI I/O (16
channels in/32 channels out)
◆ 32-track Pro Tools LE 6.x
Includes DigiRack plug-ins and the Digi 002pack v2.0:
a cross-platform RTAS, AudioSuite plug-in bundle.
Digidesign Maxim and DiFi — World-class peak limiting and sound levelmaximizing and Analog and retro signal processing in the digital domain
IK Multimedia SampleTank SE — Includes 64 factory preset instruments
to enhance your compositions; and AmpliTube with over 1,200 amp
configurations as well as stomp box and effects modeling.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Instantly switch between
Plug-in, Mix and Edit
windows. Play/Rec mode
switches include Loop Play,
Loop Record and Quick Punch
◆ FireWire connectivity — A
Headphone output with level
control plus a separate
Monitor output control.
Mic Pre Controls including
variable Gain and source
select (Mic/Line/Inst)
Host-Based Music Production Software
Pro Tools LE is the music production software that is bundled with Digidesign’s
host-based hardware audio interfaces. Using the host processing capabilities of
today’s super fast Mac and Windows computers Pro Tools LE allows you to record
and play up to 32 mono digital audio tracks and up to 128 MIDI tracks with a host
of non-linear, random-access, precision editing and mix automation functions all
within a non-destructive environment. Pro Tools LE is essentially divided into two
main working environments: The Edit window and the Mix window. The Edit
Window provides a graphic overview of your song along a timeline that allows you
to adjust every aspect of both audio and MIDI data simultaneously and at samplelevel resolution. Using the Edit window you can trim (resize) waveforms, reprocess
regions of audio, as well as rearrange and automate your song all within one
streamlined and elegant interface. The Mix window’s console-style graphic interface
displays audio and MIDI channels in the same order that they appear in the Edit
window. The Mix window not only provides access to standard volume, pan, mute and solo functions, it allows you to
process your audio tracks with realtime (RTAS) effects plug-ins — up to five effects sends and five inserts per track, depending
on available CPU resources. Both the Edit and Mix Windows provide a variety of methods for automating your mix to
perfection. Audio Tracks can be recorded with selectable 16-bit or 24-bit resolution at sample rates up to 48kHz for the Mbox
and Digi 001 and up to 96 kHz for the Digi 002.
Simultaneously record and play back up to
32 tracks of audio at sample rates of up to
48 kHz (96 kHz with the DIGI002).
24-bit signal path from A-to-D to D-to-A.
Record and play up to 128 MIDI tracks
MIDI events and sequences can be manipulated right alongside audio regions with
sample level accuracy.
number of high quality realtime (RTAS)
and file based (AudioSuite) plug-ins, from
dynamics to effects to sound design, are
included with Pro Tools and many others
are available from third party developers.
Audio Editing
Most audio editing is non-destructive —
whether cutting, pasting, trimming, separating, or clearing regions, you are only
performing these functions on a map of
the actual audio data. The source audio
files remain untouched.
Pro Tools can keep track of up to 16 of the
last undo-able operations, allowing you to
return to a previous editing state.
Because of their seamless integration into
the Pro Tools application, and their ability
to be instantiated onto multiple tracks,
software plug-ins often improve upon the
capabilities of the hardware counterparts
— customized settings are saved with your
session and parameters can be automated.
Pro Tools LE provides dynamic automation of volume, pan, and mute controls for
audio tracks and sends, MIDI tracks, and
real-time plug-in parameters.
◆ You
can write automation moves in real
time during playback of your session.
Edit breakpoint automation data, in the
Edit Window, with the same techniques
you use to edit audio and MIDI data.
ProTools LE can import the following
Audio files types: AIFF; WAV; SD II; SD I
MP3 import via optional software
Sound Resource (AIFL—Macintosh only)
(Windows Media—Windows only)
On Macintosh systems, you can import
tracks from an audio CD — ideal for
working with CD-based sample libraries.
Quicktime Video
◆ You
can use Pro Tools to import
QuickTime movies and audio, perform
audio post tasks, and export the finished
product as a new QuickTime movie.
Mix Automation
Multiple Undo
Importing Audio
Third Party Apps
ProTools hardware and/or ProTools software can be integrated with popular audio
production applications allow you to work
in a hybrid environment, if you wish.
These applications include MOTU's
Digital Performer, Emagic Logic Platinum
(Mac) and Cakewalk’s SONAR 2.2 (Win).
The Edit Window
The Edit Mode buttons affect the movement and placement of regions within the edit window.
In Shuffle mode, regions automatically snap to one another along the timeline.
In Slip mode, regions can be moved freely within a track or to other tracks.
Spot mode allows you to place regions at precise locations based on any available time format.
In Grid mode, regions and MIDI notes that are moved or inserted “snap” to a user-definable
time grid.
The Tab to Transients
option lets you to navigate
the cursor to just before the
detected transient peak.
Ideal for defining selections
and play ranges, as well as
start and end points for
new regions, without
having to zoom in on the
Multi-purpose editing tools include: the
Magnifier (zoom) tool; the Trim tool for resizing
regions; the Selector tool for defining regions and
selecting playback positions; The Grabber tool for
selecting regions for placement and editing; The
Scrub tool; and the Pencil tool for destructively
redrawing a waveform
Zoom Buttons and five Zoom
memory presets
The current position
on the timeline is
displayed by the
Location indicators.
The Event Edit defines
the start, end and
length of selected
audio or MIDI data.
Show/Hide Tracks List
The Playlist Selector
pop-up menu allows
you to select a group of
regions arranged on an
audio or MIDI track.
Each track has edit
playlists and
automation playlists.
Regions can be
dragged from the
Audio Regions list
and placed
anywhere on the
Track View selector
let’s you choose
between a waveform
and the different
automation views
available for each
mode selector
Track name
Track Rec/Solo/Mute
The Edit Groups List allows
you to create and organize
groups of tracks (i.e all background vocals) for viewing
and editing.
Audio Waveform –
track heights can be
individually resized
Dynamic Breakpoint Automation — Control volume, pan, and mute for
audio tracks and sends, MIDI tracks, as well as real-time plug-in parameters.
You can write automation moves in real time during playback of your session.
You can also edit automation data with the same techniques you use to edit
audio and MIDI data.
Four Recording Modes
In normal Non-destructive Record mode, audio is recorded
non-destructively, which means that if you record over a track’s
existing regions, the audio is not erased from your hard drive.
Both the new and old audio files remain on your hard drive,
available as regions from the Audio Regions List.
In Destructive Record mode recording over existing regions
replaces the original audio permanently.
Loop Record allows you to record take after take while the same
section of audio repeats. This is a convenient technique for
quickly recording multiple takes of a part without losing
QuickPunch allows you to instantaneously punch-in and out on
a record-enabled audio track, non-destructively, by clicking the
Transport’s Record button.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Select the desired
Grid and Nudge
values for placement and editing
MIDI and audio
data. Nudge allows
you to move
regions, MIDI notes
or automation
breakpoints by
precise increments
using the + and keys. You can also
use Nudge to trim
a region.
The Edit window provides a timeline display of audio, as well as MIDI data and mixer automation for recording, editing and arranging
tracks. As in the Mix window, each track has controls for record enable, solo, mute and automation mode.
The Mix Window – Integrated Multi-Channel Mixing and Surround Panning
In the Mix window, tracks appear as mixer strips (or channel strips), with controls for inserts, sends, input and output assignments,
volume, panning, record-enable, automation mode, and solo/mute. The following section explains each of these track controls.
You can insert up to five plug-ins and
access up to five effects sends on each track.
Tracks List
All Pro Tools LE systems provide a total of 16 internal mix
busses that can be used as
effects returns or for creating
submix groups for drums,
background vocals, etc.
Input and output
Channel Pan
with position
Volume fader and level meter
The Mix Groups
List allows you to
create groups of
faders to show or
Mono and Stereo tracks
Peak level
indicator and
track name
Group ID
An active Stereo Master and a 5.1 Master buss
running simultaneously (TDM systems only).
number of high quality plug-ins, from dynamics to effects to sound design,
are included with Pro Tools and a many, many others are available from third
party developers.
Because of their seamless integration into the Pro Tools application, software
plug-ins often improve upon the capabilities of the hardware counterparts —
you are free to employ presets, customize settings, as well as automate a plugin's parameters.
RTAS and AudioSuite Plugins
RTAS (Real-Time AudioSuite) plug-ins are real-time processing effects that rely
on the DPS provided by your computer. They can be assigned to multiple
tracks as frequently as you like depending on the available CPU resources.
◆ AudioSuite
plug-ins are non-real time, file-based processors. Once an
AudioSuite plug-in is applied to an audio file or region, a new audio file is
created, leaving the original unprocessed available as a back-up.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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The triangular AutoMatch
indicators show the direction
you need to move a fader in
order to match the original
automation level of that
MIDI Functions and Editing
integrated MIDI environment, with
support for up to 128 MIDI tracks gives
you full control over the MIDI
components of your projects.
Full support for Mac OS X’s Core MIDI
MIDI Time Stamping (MTS) support
provides sample-accurate MIDI with Pro
Tools-compatible software synths and
samplers, eliminating the possibility of
compromised sync and drift issues.
Up to sub-millisecond-accurate MIDI with
Digidesign's MIDI I/O and other
supported MTS-capable interfaces, rivals
dedicated hardware sequencers.
Import and export Standard MIDI Files
The Restore Performance function
allows you to return to the original
state of a MIDI-based performance at
any time. The Flatten Performance
feature solidifies your edits and gives
you a new, permanent basis from
which to proceed.
The MIDI Event List editor displays a detailed
list of all Note and Controller events for a single
MIDI track including each events start position,
the event type and the event’s duration. Events
can be inserted, copied and pasted, selected, or
deleted. A View Filter allows you to hide certain
events for easier editing.
MIDI events and sequences can be edited and manipulated right along side audio.
range of precision editing tools are
provided for creating and editing MIDI
notes and controller events within the
ProTools Edit window including: the Pencil
tool which can be used for inseting notes at
specific pitches as well as adjusting a note’s
velocity and duration; as well as the
Trimmer and Grabber tools for changing
the start and end points of MIDI notes as
well as their position along the timeline.
◆ An
There are also a number of “MIDI
Operations” windows that allow you to
transform groups of MIDI notes including:
Quantize for correcting timing; Transpose,
Change Velocity for making notes louder
and softer; and Change Duration.
The Groove Quantize feature incorporates intelligent Bar|Beat adjustment
as well as support for the new 960 ppq DigiGroove templates.
POW-r Dithering
Mixdown and Mastering
In addition to providing an ideal recording, editing, and mixing
environment, you are able to add the finishing touches to your
projects through mastering.
Editing capabilities and plug-ins used in conjunction with the Pro
Tools software interface enable you to make the necessary fine
adjustments to your final mix to achieve the perfect combination
of warmth, presence, and balance.
The real-time “bounce to disk” feature reads all automation
information, allows incorporation of various outboard gear, and
provides you with mono, stereo, or surround output of your final
mix, which can then be handed over to your mastering expert of
choice in a variety of digital audio file formats.
Digidesign’s MasterList CD, a software application specifically
designed for mastering tasks, can be used to master a single piece
or a collection of work with professional results.
Dithering is used to reduce quantization noise when mixing or
fading low-level audio signals during word size reduction to
16-, 18-, or 20-bits.
The POW-r Dither plug-in is an advanced type of dither that
provides optimized word length reduction. It is designed for
final-stage critical mixdown and mastering tasks where the
highest possible fidelity is desired when reducing bit depth.
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ReWire Support
◆ You
can quickly and easily create crossfades
between two adjacent audio regions to smoothing
transitions between regions and prevent pops,
clicks, or sudden changes in sound.
The crossfade duration, position, and shape are all
The Fades dialog window allows you to select,
view, and manipulate the curves used to perform
the crossfade. Different volume curves can be
assigned to the fade-out and fade-in portions of
◆ You
can also preview audition the crossfade from
within the Fade dialog.
The Strip Silence window allows you to
automatically divide a selected audio
file or region by removing the areas of
silence from a selection. This can be
useful for quantizing individual audio
events to musical values or cueing
sound effects to SMPTE locations.
◆ Strip Threshold which sets the
amplitude threshold for Strip Silence.
Audio falling below this threshold is
considered silence and removed.
Minimum Strip Duration Sets the
minimum duration (from 0 to 10,000 ms)
that the material below the threshold must
last to be considered silence.
◆ Region Start Pad and Region End Pad
specifies a time value to be added to the
beginning and end of each new region
created with Strip Silence. This is useful for
preserving nuances that fall below the
threshold, such as the breath before a vocal
phrase, or a finger slide on a guitar.
DigiBase File Management Utility
To help you organize larger Pro Tools sessions a file management
utility called DigiBase is similar to Mac’s Finder or Windows’
Explorer, enabling you to manage all of the files on your system.
DigiBase allows you to view complete file information including
duration, time stamps, along with two user comments fields.
Display layouts can be customized to focus exclusively on the
information you need.
◆ You
can also audition files and view their waveform thumbnails before
importing into Pro Tools, regardless of file format or sample rate.
◆ When
you’ve determined a selection, the one-step drag-and-drop
process from DigiBase to your session timeline includes automatic file
copy and conversion, guaranteeing compatibility with your project.
Tasks such as copying, conversion, and fade creation are handled in
the background so that you can continue to record and edit without
interruption. A new Task Manager feature also enables users to
monitor and manage background processes.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Support for Propellerhead’s ReWire technology provides real-time streaming of 24bit audio and MIDI between ReWire compatible software synthesizers, samplers, and
other host-based instruments, with sample
accurate synchronization and common
transport functionality. ReWire-enabled
instruments can be be directly routed into
the Pro Tools mixer where they can be
integrated with your session and access
additional mixing and processing functions.
Digidesign Core Audio Driver
(Mac OS X)
Strip Silence
The Digidesign Core Audio driver allows
third-party applications supporting the
Apple Core Audio standard to utilize a Pro
Tools system for audio input and output.
Depending on the hardware and application, you can record and playback multiple
channels of 24-bit audio up to 96 kHz.
Digidesign MIDI I/O driver is available
for users of the Digidesign MIDI I/O.
Digidesign ASIO Driver
(Windows XP)
The Digidesign ASIO Driver is a multichannel, multimedia sound driver that
allows third-party audio programs which
support the ASIO standard to record and
play back using Windows XP Professional
or Home.
Enhanced Windows XP Features
DV Toolkit is an optional bundle that adds
desktop post production functionality to the
Pro Tools LE system. Specialized functionality
gives users tools to edit audio with timecode
functionality; support for the import and export
of media files with other applications including
new AAF interchange with Avid Xpress DV; and
the ability to replace bad on-camera dialog and
repair/restore poor field audio.
Windows Media Audio 9 Encoder
and OMF Import and Export
(with bundled DigiTranslator option)
Timecode ruler in the Pro Tools LE interface
for spot-to-timecode capabilities
One-of-a kind lip sync capability when
replacing noisy location dialog with Synchro
Arts VocALign Project
Streamlined new look for the Mix, Edit, and Transport windows, the powerful
DigiBase file management utility, enhanced MIDI functionality and Beat Detective
features and more.
Microsoft's Windows Media Format is the optimal digital media format available for
streaming and download-and-play applications on PCs, set-top boxes, and portable
devices. Soon, Pro Tools users will be able to take advantage of this powerful format
using the new Pro Tools Windows Media Audio Encoder. The Windows Media Audio
Encoder allows Pro Tools TDM and LE users to both import and export WMA files in
the simple and familiar Pro Tools environment. Visit Microsoft's booth to see it in
action and www.microsoft.com for more information on Windows Media.
Pro Tool’s support for Windows Media 9 Series offers:
DINR AudioSuite Noise Reduction plug-in
16-bit 24-bit audio encoding
44.1kHz, 48kHz, and 96kHz sampling rates
2-channel stereo, 5.1 and 7.1 multichannel configurations
One-pass and Two-pass encoding
Support for Windows Media Audio (WMA) 9 Lossless encoding.
ProTools LE Compatible Hardware Comparison
System Type
Simultaneous Playback Tracks
Highest Supported Sample Rate
Number of I/O Channels
Digi 001
Digi 002
32 (Pro Tools 6.0 or higher
and Pro Tools 5.3.1 or
higher on Windows)
up to 2 in/2 out
32 (Pro Tools 6.0 or higher
and Pro Tools 5.3.1 or
higher on Windows)
up to 18 in/18 out
A-to-D Conversion
D-to-A Conversion
Digital I/O
18 in/18 out (up to 48 kHz)
10 in/10 out (at 96kHz)
Canopus — DV converter specialized for NLE
Convert your S-VHS, Hi8 and 8mm analog tapes to DV in one simple step using the ADVC-100. The converted DV streams
are transferred to your PC or Mac via IEEE 1394 (i.Link, FireWire) and stored on your hard drive where they can be
manipulated using your favorite photo or video editing applications. This device is ideal for all OHCI and DV-only capture
cards for Macintosh or PC.
Uses Canopus’s award-winning DV CODEC
Technology, which is found in AVID's Xpress
DV software and the full line of Canopus DV
capture cards.
Locked Audio Support allows you to capture
long clips w/perfect audio sync.
◆ Analog
input connector on front
◆ Analog
output connector on back
◆ Analog
output of NTSC color bars for reference
4-pin DV jack on front; 6-pin FireWire jack on
◆ Analog
video In/Out: NTSC (525/60), PAL
(625/50) S-video and composite
Includes AC adapter, DV cable (6 pin - 4 pin),
Video cable (S-video/comp)
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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DV Toolkit for Pro Tools LE
High-Definition Audio Production System
Pro Tools|HD is Digidesign’s latest and most advanced digital audio workstation ever, with
support for up to 24 high resolution audio tracks at 192 kHz sample rate and all of the processing
power required for audio recording and playback, mixing, effects and automation being supplied
via dedicated HD Process cards that reside in the PCI slots of your
computer. Pro Tools|HD is available in three basic configurations,
or Core systems, consisting of one to three HD Process
cards (HD 1, HD 2, and HD 3), and packaged with
the latest versions of Pro Tools TDM software along
with a host of effects plug-ins from Digidesign, as well
as many third party plugins from Digidesign’s development
partners. With twice the DSP-based mixing and plug-in processing
power as previous Pro Tools systems, Pro Tools|HD delivers a substantial increase in
guaranteed track count (up to 128), with up to 96 channels of I/O as well as increased routing and expansion flexibility.
Digidesign and its development partners offer a variety of high resolution audio interfaces (at least one interface is required)
and other in-demand peripherals, including control surfaces, MIDI and sync interfaces, software plug-ins, as well as support
for a total of seven HD Process cards, allowing you to custom configure a fully integrated and professional production solution
that suits your specific needs.
A Complete Professional
Audio Solution
Modular Design – Expandable
DSP Power and I/O Capacity
Support for 24-bit audio with a sample
rate up to 192 kHz.
Guaranteed support for up to 128 simultaneous audio tracks with no stress on the
computer (96 tracks with an HD 1 system).
Pro Tools|HD’s dedicated processing power
and I/O capacity is based around a full
length PCI card known as the HD Process
card. The first card in the system is called
the HD Core card. The HD Core card
supports up to 96 tracks of direct-to-disk
recording and playback, 32 channels of I/O
and enough DSP power for mixing and
plug-in processing.
The HD system’s modular hardware design
supports up to 6 additional HD Process
cards (for a total of 7) allowing you to
dramatically increase your system’s mixing
and plug-in processing power as your
needs grow. Each HD Process card
provides up to 32 additional channels of
I/O and you can expand your system to a
total of 96 channels of I/O using multiple
HD cards.
There are three world-class, high-resolution
audio interfaces available to the HD
system: 192 I/O and 192 Digital I/O support
sample rates up to 192 kHz and the 96 I/O
which supports sample rates up to 96 kHz.
Each interface offers a wide range of
standard analog and digital connections
allowing integration of the HD system into
any professional working environment.
proprietary multi-pin DigiLink interface
is used for connecting the HD Core and
HD Process cards with an HD compatible
audio interfaces. Interfaces can be connected
up to 100 feet from your computer with
sample rate support up to 96kHz. This
allow you to keep your computer and hard
drives nestled away in a machine room
thus allowing a quieter control room.
Digidesign offers a number of additional
dedicated peripherals, including control
surfaces, synchronization and MIDI
interfaces, mic preamp and more, for
enhancing Pro Tools’ advanced recording,
editing and mixing functions.
AT 349 W. 34th STREET (with purchase of $100 or more)
Core Systems
Pro Tools|HD 1 features the HD Core card,
supporting up to 32 channels of I/O, 96
simultaneous audio tracks, and housing a
host of powerful DSPs that provide the
dedicated mixing and processing horsepower
audio professionals have come to expect
from Pro Tools.
Pro Tools|HD 2 includes the HD Core card
and an additional HD Process card, offering
more than double the mixing and processing
power of HD 1 systems, support for 64
channels of I/O, and up to 128 simultaneous
audio tracks.
Pro Tools|HD 3 features the HD Core card
and two additional HD Process cards,
supporting up to 96 channels of I/O and 128
simultaneous audio tracks. This configuration
offers the ultimate in power and flexibility,
enabling you to complete projects more
quickly and efficiently than ever before.
Each Core system requires at least one Pro
Tools|HD audio interface — 192 I/O, 192
Digital I/O, or 96 I/O — for handling the
input and output (I/O) of audio signals to
and from your system.
TDM-Based Software
Four Types Of Plug-ins
TDM plug-ins are exceptionally powerful
realtime effects that utilize the DSP power
provided by the HD Process cards in your
Pro Tools system.of TDM technology
rather than relying on the limited
resources of the host computer. This
affords much more processing power for
DSP intensive plug-ins such as reverbs
and surround processors.
HTDM and RTAS plug-ins rely on your
host computer’s resources and are
designed to run as efficiently as possible
to offer the same and different
processing options as TDM plug-ins.
HTDM was designed as an optimum
plug-in architecture for integrating
realtime synthesis and sampling plug-ins
within the Pro Tools environment.
AudioSuite is Digidesign’s
proprietary non-real-time,
file-based plug-in format. When an
AudioSuite plug-in is applied to an
audio region, a new audio file is
created with the processing
permanently intact while the
original audio remains untouched
on your disk drive.
Beat Detective
Surround Mixing
Pro Tools|HD 1 systems provide recording
and playback of 24-bit and 16-bit audio
files with the following track counts:
• Up to 96 tracks at 44.1 kHz or 48 kHz
• Up to 48 tracks at 88.2 kHz or 96 kHz
• Up to 12 tracks at 176.4 kHz or 192 kHz
Pro Tools TDM software enables you
to mix in every popular surround
format — including LCRS, 5.1, 6.1,
and 7.1. You can even work in several
surround formats simultaneously.
Pro Tools|HD 2 and HD 3 systems provide recording and playback of 24-bit and
16-bit audio files with the following track
• Up to 128 tracks at 44.1 kHz or 48 kHz
• Up to 64 tracks at 88.2 kHz or 96 kHz
• Up to 24 tracks at 176.4 kHz or 192 kHz
The Pro Tools TDM software included with every Pro
Tools|HD system, features all of the recording, editing and
mixing functions of the host-based Pro Tools LE software,
plus adds a powerful set of additional features implemented
to take full advantage of the HD systems dedicated DSP
and enhanced I/O capabilities. For starters, because Pro
Tools TDM software relies on the HD process card and the
TDM bus and not your computer for processing tasks, you
are guaranteed playback of up to 128 audio tracks when
using an HD 2 system or higher (96 tracks are guaranteed
with an HD 1). In addition, Digidesign’s proprietary TDM
plug-in architecture will allow you to instantiate numerous
DSP intensive effects without affecting the load on your CPU. Pro Tools TDM software also supports complete surround
sound capabilities allowing you to mix in every popular surround format available.
Beat Detective automatically detects the tempo of a
session and conforms an audio track or selection to
that tempo by separating it into regions and aligning
(quantize) it to the beats.
Beat Detective lets you extract tempo and groove
information, from audio performances, which can be
applied to groove templates, called DigiGrooves. Beat
Detective allows you to apply the attributes of these
templates to other to audio selections. DigiGroove
templates can also be used with Groove Quantize for
MIDI data on all Pro Tools systems.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
192 I/O
World-Class 24-Bit/192 kHz Multi-Channel Audio Interface
The 192 I/O is a 16 channel,
high-definition, 24-bit/192
kHz, digital audio interface
specifically designed to take full
advantage of the increased
fidelity and dynamic range
capabilities available within
the Pro Tools|HD environment. The 192 I/O features support for up to 16 simultaneous channels of inputs and outputs
based on a wide range of available analog and digital interfaces including: 8 channels of high-definition, pristine quality
analog I/O; 8 channels of AES/EBU; eight channels of TDIF; 16 channels of ADAT; and 2 additional channels of AES/EBU
and S/PDIF digital I/O. Aside from its
outstanding sonic specs, 192 I/O features the most flexible architecture ever
offered in a Digidesign audio interface.
With an I/O expansion bay, 192 I/O
allows you to expand I/O options with
one of three available expansion cards. Whether you want more analog inputs than outputs or more digital I/O. 192 I/O is
the best sounding audio interface ever offered by Digidesign, rivaling interfaces costing more than twice its price.
Multi-Channel I/O
16 simultaneous discrete channels of highdefinition I/O with Pro Tools|HD derived
from 50 possible inputs and outputs.
Eight channels of 24-bit A-to-D and D-toA converters for superior analog input and
output at sampling rates of 44.1, 48, 88.2,
96, 176.4, and 192 kHz.
Eight channels of 24-bit AES/EBU digital
I/O on a DB-25 connector with support
for sampling rates of up to 192 kHz.
eight channel TDIF digital I/O port is
provided on a DB–25 connector.
Switchable, real-time sample rate conversion on the multi-channel digital inputs
allows easy streaming of digital signals at
any sample rate.
◆ Word
Clock input and output for synchronizing 192 I/O with external Word Clock
or 256x (Slave Clock) devices.
4-segment LED Meters to monitor input
and output on each of the 16 channels.
Simultaneous use of up to eight 192 I/O
units is supported, for a maximum of 96
channels of I/O at 96 kHz.
◆ An
Sixteen channels of optical I/O via two sets
of eight channel ADAT Lightpipe I/O connectors. One optical pair can be switched
to two channels of optical S/PDIF I/O.
additional AES/EBU digital I/O, using
XLR conectors, is provided with support
for sampling rates up to 96 kHz.
◆ An
DigiLink Expansion Port is provided
for direct connection of an additional 192
I/O or 96 I/O.
◆ An
24-bit-capable coaxial S/PDIF digital I/O
supporting sample rates of up to 96 kHz.
Optional addition of cards to expand analog or digital I/O.
Legacy Port is included for Digidesign
MIX-series audio interfaces.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Soft Clip Limiting
◆ When
using the A-to-D converters, a
switchable Soft-Clip Limiter algorithm
allows you to achieve higher signal levels to
disk helping eliminate clipping transients
that can cause digital distortion while the
same time offering the warmth and compression characteristics of analog tape saturation.
◆ With
Soft Clip enabled, the 192 I/O supports an additional 4 dB of headroom by
rounding off the top 4 dB to the clip point.
DigiLink Cables
1.5´ DigiLink cable and 1.5´ BNC cable is
included with each interface.
World-Class 24-Bit/192 kHz Multi-Channel Audio Interface
192 I/O EXCEPT —
Multi-Channel I/O
16 discrete channels of digital input and output
16 channels of 24-bit TDIF I/O at sampling rates of up to 48 kHz
16 channels of 24-bit AES/EBU I/O at sampling rates of up to 96 kHz
in single-wire mode; or 8 channels at sampling rates of up to 192 kHz
in dual-wire mode
16 channels of 24-bit Optical (ADAT) I/O at sampling rates of up to
48 kHz
96 I/O
192 I/O
192 Digital I/O
Multi-Channel I/O Cards:
Max Simultaneous I/O
8 channels up to 192kHz (1/4˝ TRS)
8 channels up to 192kHz (DB25)
8 up to 96kHz (1/4˝ TRS)
8 up to 192kHz (DB25)
8 channels up to 192kHz (single wire mode)
4 channels up to 192kHz (dual wire mode)
16 channels up to 96kHz (single wire mode)
8 channels up to 192kHz (dual wire mode)
ADAT Lightpipe I/O
8 channels up to 48kHz
8 channels up to 48kHz
8 channels up to 48kHz
8 channels up to 48kHz
16 channels @ 48kHz
2 channels up to 96kHz
Analog Inputs
Analog Outputs
Available I/O Bays
Coaxial S/PDIF I/O
2 channels up to 96kHz
2 channels up to 96kHz
2 channels up to 96kHz
2 channels up to 96kHz
2 channels up to 96kHz
ADAT Lightpipe I/O
8 channels up to 48kHz
switchable to 2 channel S/PDIF
8 channels up to 48kHz
switchable to 2 channel S/PDIF
8 channels up to 48kHz
switchable to 2 channel S/PDIF
1 primary, 1 expansion
DigiLink ports
1 primary, 1 expansion
1 primary, 1 expansion
LOOP SYNC In and Out
EXT. CLOCK In and Out
BNC supports Word Clock
or 256x (Slave Clock) devices
BNC supports Word Clock
or 256x (Slave Clock) devices
BNC supports Word Clock
or 256x (Slave Clock) devices
Auto Power-selecting (100V to 240V)
Auto Power-selecting (100V to 240V)
Auto Power-selecting (100V to 240V)
AC Power
The 192 Digital I/O is a
high-definition audio interface
designed for those of you using
a digital mixer or third party
A-to-D converters with
ProTools|HD. The 192 Digital
I/O provides you with up to 16
channels of AES/EBU, TDIF,
and ADAT I/O via digital I/O cards. The 192 Digital I/O employs the same comprehensive front panel status and metering
capabilities, realtime sample rate conversion, expansion ports and additional 2 channel AES/EBU I/O (XLR), coaxial
S/PDIF I/O and ADAT I/O that are
available on the 192 I/O. And with two
Multi-channel expansion bays still
available, you are able to add more I/O
down the road.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
96 I/O
High-Quality, 24-Bit/96 kHz Multi-Channel Audio Interface
The 96 I/O offers Pro Tools users a
high-resolution, multi-channel audio
interface with excellent sonic performance. An affordable 16-channel audio
interface for Pro Tools|HD, 96 I/O features a wealth of I/O options, including
8 channels of high-definition analog
I/O, 8 channels of ADAT optical I/O, 2 channels of AES/EBU and S/PDIF I/O, and Word Clock I/O. Over the past few
years, Pro Tools|24 MIX systems have offered professionals a comprehensive and completely flexible, proven solution for
music, post production, broadcast and multimedia applications. Now, Digidesign has topped Pro Tools|24 MIX systems on
every level with Pro Tools|HD: the new,
high-definition Pro Tools digital audio
workstation. With Pro Tools|HD,
Digidesign brings professionals the best
sound quality ever in a Pro Tools system,
along with twice the power of previous
MIX systems, increased expandability options and much more. Among the new audio interface options available for Pro
Tools|HD, 96 I/O offers a high definition, multi-channel audio interface at a low price point.
Eight channels of 24-bit analog inputs and
outputs using balanced 1/4˝ TRS connectors
Eight channels of ADAT optical I/O
switchable to a optical S/PDIF pair
Stereo AES/EBU (XLR) and stereo S/PDIF
(coaxial) digital I/O as well as Word Clock
Support for 96, 88.2, 48 and 44.1 kHz
sample rates conforming with the latest
standards of professional digital audio
◆ All
channels can be configured on a per
pair basis allowing you to select up to 16
channels of simultaneous I/O from the 20
available I/O channels
The Expansion Port on the rear panel allows
you to use the supplied DigiLink cable to
connect another 96 I/O for 16 more channels
of high-definition input and output.
Legacy Peripheral port supports connection
of 888|24 I/O, 882|20 I/O, 1622 I/O, or
24-Bit ADAT Bridge I/O at sample rates up
to 48kHz
Sample Rate:
Dynamic Range:
Frequency Response:
Sample Rate:
Dynamic Range:
Frequency Response:
192 I/O
96 I/O
44.1, 48, 88.2, 96,
176.4, 192 kHz ±10%
120 dB (A-weighted),
118 dB (unweighted); see Notes 1 and 2
0.00035% (-109 dB);
+21 dBu @ 997 Hz; see Note 1
±0.05 dB @ +2 dBu,
20 Hz – 20 kHz; see Notes 1 and 3
44.1, 48, 88.2, 96 kHz ±10%
44.1, 48, 88.2, 96,
176.4, 192 kHz ±10%
118 dB (A-weighted),
115 dB (unweighted); see Notes 1 and 4
0.00056% (-105 dB);
-1 ' @ 997 Hz; see Note 1
±0.05 dB, -20 dBFS, 20 Hz – 20 kHz;
see Notes 1 and 3
115 dB (A-weighted),
112 dB (unweighted); see Notes 1 and 4
0.0007% (–103 dB); +17 dBu
@ 997 Hz; see Note 1
±0.05 dB @ –2 dBu, 20 Hz – 20 kHz;
see Notes 1 and 2
44.1, 48, 88.2, 96 kHz ±10%
114 dB (A-weighted),
112 dB (unweighted); see Notes 1 and 3
0.0013% (–97 dB); –1 dBFS @ 997 Hz;
see Note 1
+0.1/–0.2 dB; –20 dBFS,
20 Hz – 20 kHz; see Notes 1 and 2
Sample Rate = 48 kHz, Noise BW = 22 Hz – 20 kHz unless otherwise noted, Tambient = +25 C
Note 1: Measurement made using +4 dBu inputs or outputs
Note 2: ADC measured with analog input at -38 dBu @ 997 Hz
Note 3: Measured relative to level at 1 kHz
Note 4: Measured with digital input at -60 dBFS @ 997 Hz
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
HD Process Cards
Digital I/O
Out card
Analog In
Digidesign offers an
array of quality
cabling options to
ensure the fidelity of
audio signals as they
travel between the
I/O components of
your Pro Tools
system. Uniquely
designed for Digidesign gear, DigiSnakes are custom colored
and labeled, feature a lifetime warranty, and are comprised of
110 ohm “digital grade” cable to accommodate either digital or
analog signals. DigiSnakes make connecting your gear a quick,
easy process, freeing you to spend your valuable time on your
audio projects rather than the wires they travel across.
Thinking of adding more analog inputs, outputs or digital
connections to your 192 I/O? The 192 AD expansion card
provides eight more channels of high definition analog input
while the 192 DA card adds eight channels of analog output. To
increase your digital I/O options, the 192 Digital card adds eight
more channels of AES/EBU, TDIF and ADAT I/O.
DigiSnake Cables –
Customized Audio Cabling for HD Systems
192 I/O Expansion Cards
DigiLink Cables
DigiSnakes are available in 4´, 12´ and 25´ options:
DB25-DB25 DigiSnake, 12´ ................................................70.00
DB25-DB25 DigiSnake, 25´ ..................................................95.00
DB25-DB25 DigiSnake, 4´ .................................................. 65.00
DB25-DB25 TDIF Only DigiSnake, 12´ ............................150.00
DB25-DB25R ProControl DigiSnake, 25´............................95.00
DB25-TRS DigiSnake, 12´.................................................... 95.00
DB25-TRS DigiSnake, 4´ ......................................................90.00
DB25-TS +4 dBu/-10 dBV Padded DigiSnake, 12´ ..........115.00
DB25-TS +4 dBu/-10 dBV Padded DigiSnake, 4´ ............110.00
DB25-XLR M+F AES/EBU DigiSnake, 12´ ........................ 95.00
DB25-XLR M+F AES/EBU DigiSnake, 4´............................90.00
DB25-XLRF DigiSnake, 12´ ..................................................95.00
DB25-XLRF DigiSnake, 4´ .................................................. 90.00
DB25-XLRM DigiSnake, 12´ ................................................95.00
DB25-XLRM DigiSnake, 4´ ..................................................90.00
ProControl DigiSnake Kit ................................................345.00
Boosting the DSP power and
I/O capacity of
your Pro
Tools|HD system
can be achieved by
adding additional
HD Process cards. Up to six cards may be added to
an HD Core system (a total of 7 cards), each providing
32 more channels of I/O capacity (up to 96 channels
total), and dramatically increasing the system’s mixing
and plug-in processing power.
Lightweight DigiLink cables provide connectivity between HD
audio interfaces and HD Core or HD Process cards, and are also
used to daisy chain 192 I/O and 96 I/O units. DigiLink cables
allow you to keep the computer in a soundproof location up to
100´* away from your audio interfaces.
DigiLink Cable 1.5´ ....................................................................................50.00
DigiLink Cable 100´..................................................................................295.00
DigiLink Cable 12´......................................................................................65.00
DigiLink Cable 25´......................................................................................95.00
DigiLink Cable 50´....................................................................................150.00
* 100´ DigiLink supports up to 96 kHz sample rates
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Control Surface and Analog Front
End for Pro Tools TDM
Control|24 is a dedicated control surface, co-developed
by Digidesign and Focusrite, that offers hands-on
access to nearly every recording, mixing, automation
and editing function in Pro Tools. Features include 24
channel strips, each featuring a dedicated rotary data encoder
and touch-sensitive motorized fader, along with 16 premium
microphone preamps, a comprehensive transport control and control
room monitoring sections, and a line submixer. This flexible range of
audio routing features make Control|24 an ideal “front-end” for tracking,
monitoring or mixing. Control|24 connects to your Pro Tools system via a standard
Ethernet connection which delivers maximum responsiveness and resolution. Whether you are new to Pro Tools or a seasoned
pro, the extensive features and affordable price of Control|24 make for an extremely cost-effective, and powerful environment
for recording, editing, and mixing audio and MIDI.
16 Focusrite Class A Mic Preamps
24 Channel Control Strips
Each channel has a motorized, touchsensitive fader and a multi-function knob
(which defaults to pan)
16 high-quality preamplifiers accessible via XLR mic, 1/4˝ line connectors, make an
ideal analog front end for your Pro Tools system. Inputs 1 and two also feature D.I.
(direct inject) inputs for plugging in your bass or guitar.
Dedicated EQ and Dynamics switches on
every channel
Dedicated illuminated switches for Mute,
Solo, Record Arm, Channel Selects, and
Automation Mode on every channel.
The mic pre design, based on the same preamps found in the Platinum line of analog processors from Focusrite, delivers smooth sound across a wide frequency bandwidth and dynamic range with extremely low noise and distortion.
The gain range for mic level signals is from 0 to +60 dBu (Mic). A 12 dB/octave
high-pass filter at 75 Hz is also provided.
Phantom power is switchable in two groups of eight channels from the rear panel.
The Preamps are output interface easily with your Pro Tools interface via two
streamlined 8 channel DB25 connectors.
Recording Mix Automation
Control|24 provides touch-sensitive access
to the dynamic automation of faders, pans,
fader mutes, send levels, send mutes and
plug-in Parameters available to Pro Tools.
MIDI volume and pan, as well as channel
mute, can also be automated for additional
mix capability.
Control|24 replicates Pro Tools on-screen
automation features, with channel-based
and session-wide automation controls.
switches found in each channel
strip allow you to select the desired
channel automation mode (Read, Write,
Trim, Latch, Touch, and Off). The current
automation state is indicated using the
LED labels to the right of each AUTO
24 stereo, 14-segment LED meters
provide global pre-fader or postfader
levels of individual channels.
Choose your input source, arm
tracks, control input gain and the
12 dB/octave high-pass filter at 75
Hz for each input channel.
26, four-character scribble strips
provide system feedback such as
channel names and plug-in
Transports and Navigation
Store and recall five Zoom presets
Edit Mode buttons: Shuffle, Slip, Spot and Grid
You’re a single button push away from the various Pro
Tools windows: Mix, Edit, Transport, Plugins, etc...
Edit Tools for audio and MIDI are all a button
click away.
Navigation and Zoom functions The UP, NEXT,
DOWN, and PREVIOUS arrow buttons provide roughly
the same functionality as the arrow keys on your
computer keyboard as well as some additional features.
In Zoom mode, the quadrant buttons are used to zoom
in and out and adjust the perceived amplitude of the
waveform display in the Edit window on-screen.
The Numeric Keypad mimics keypad
operation in Pro Tools and is used for memory
location store and recall, data entry of counter
values or numerics, for completing an editing
operation (using the ENTER key), and for Pro
Tools Transport and Shuttle modes.
The Scrub/Shuttle wheel can be used for
scrubbing and shuttling, to help define regions,
and other edit operations.
The Control Section can access special transport
functions such as Loop modes, Quick Punch, Pre/Post
Roll, as well as machine control status.
Direct access Pro Tools’ most important editing
functions: Cut, Copy, Paste, Delete, Separate,
Capture, Duplicate and repeat
Group function buttons: Create;
Enable; Edit; Delete; and Suspend.
Standard transport controls and a talkback button
The integrated submixer consists of eight stereo inputs that can
serve a wide variety of purposes including: submixing returns from
MDMs, routing synthesizers, samplers, or drum machines, or
returning aux busses. You can also use the submixer to bring
multiple input channels down to a stereo pair, to be routed into a
pair of Pro Tools audio interface inputs.
Touch-Sensitive Faders
# of Motorized Faders
Comprehensive Control Room section capable of up to 5.1 surround
monitoring with TDM system.
Motor Mix
8 – 48
8 – 32
Up to 48 Faders plus Edit Pack
Up to 32 Faders
Built-In Mic Preamps
Surround Monitoring
Up to 5.1
Up to 5.1
Pro Tools TDM only
Pro Tools TDM only
Pro Tools TDM & LE
Supported Systems
Connection Type
DigiSnake Kits for Control|24
Digidesign offers two optional, complete DigiSnake Kits for Control|24
that include seven custom-labeled, custom color-coded cable snakes —
one with D-Sub to XLR/TRS connectors, and one with D-Sub to TRS
connectors — allowing you to quickly and easily connect this versatile
control surface to your Pro Tools system.
(D-Sub to XLR-TRS, or D-Sub to TRS)
Control|24 TRS DigiSnake Kit (Complete, TRS-only
Custom Cable Kit Package for Control|24) .....................................695.00
Control|24 XLR/TRS DigiSnake Kit (Complete Custom
Cable Kit Package for Control|24) ...................................................695.00
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
High-resolution LED display for
transport location at a glance
Submixer / Monitor Section
ProControl is Digidesign's most comprehensive control surface that adds
a high-quality tactile mixing and editing controls to Pro Tools TDM systems. ProControl has the look and feel of a high-end mixing console, with
dedicated channels strips, transport controls and a mains section that will
allow you to exploit the extensive recording, editing, mixing, DSP processing and automation capabilities that Pro Tools has to offer. ProControl’s
eight channel strips are centered around exceptionally smooth
DigiFaders: Digidesign’s patented 100mm motorized digital faders which
can be configured to control volume and send levels for mono, stereo and
surround channels. ProControl also features a comprehensive analog
monitoring section that supports stereo and surround sound monitoring
with audio fed from your ProTools interfaces directly into ProControl’s
analog I/O section. ProControl's flexible, modular design allows you to
integrate up to 48 physical faders using additional eight channel Fader Packs while the optional Edit Pack provides tactile
surround mixing via two motorized DigiPanners as well as a color-coded QWERTY keyboard.
Control Surface System For ProTools TDM
The most comprehensive tactile access to
all of Pro Tools editing, mixing and
automation parameters.
Eight bank-switchable channel strips
expandable to a total of 48 channel strips
with optional Fader Packs.
The DSP Edit/Assign section allows you to
view and edit plugins, sends, and inserts, or
perform surround panning, using an intuitive array of rotary encoders and displays.
Dedicated stereo and surround sound control room monitoring and routing section
with onboard analog I/O for routing monitor signals between ProControl and
ProTools|HD interfaces.
Switch Group lets you effortlessly switch between Write, Touch, Latch,
Trim, and Read modes for fader levels,
pans, sends, mutes, plug-in parameters,
and more.
Faders and Channel Controls
100 mm. touch-sensitive DigiFaders for
controlling channel volume or send level.
Data encoder with 15-LED indicator rings
for pan, send and I/O control.
Large, illuminated Solo and Mute buttons
Illuminated Channel Select buttons for I/O
assignment, automation, grouping and
other channel-specific edit functions.
Dedicated, illuminated switches for EQ
and Dynamics editing/bypass control,
insert assignment/bypass and record-ready
◆ Automation
High-quality, illuminated transport control
switches, weighted Scrub/Shuttle Wheel
Connectivity to Pro Tools TDM systems
via high-speed Ethernet.
Cross platform for Mac OS and Windows
TDM systems
The are a total of eight, bank-switchable
channel strips each with dedicated fader,
multi-function rotary encoder and a variety of illuminated switches. The flexible
mixing environment of Pro Tools lets you
customize any channel strip for mono,
stereo, or surround operation.
Each channel strip also features an 8-segment LED scribble strip for displaying
channel name and headroom.
◆ Another
8-segment LED dot-style scribble
strip displays parameter values of the data
encoder data.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
DigiFader Touch-Sensitive
Moving Faders
The patented DigiFader is a true digital fader that incorporates a sealed
encoder, servo-controlled motor, and
“flex-circuit.” This unique design
provides the feel, performance, and
reliability of moving faders found on
other high-end mixing consoles.
Each 100mm DigiFader provides 10bits of resolution or 1024 steps; Pro
Tools then provides 24-bit interpolation of these values, to ensure accurate reproduction of fader moves.
The use of advanced touch-sensitive
circuitry allows you to means all you
have to override servo control by
merely touching the fader.
Eight LED meters for Input/Track
level indication
Time Counter Display
Six LED meters for master output
Meter Section
Fader Pack
Main Section
The Main section features standard transport
controls; and a Scrub/Shuttle wheel; as well as
Audition Mode switches that allow you to
quickly listen to the selection start or end, with
or without pre- and post-roll.
Dedicated Window switches provide direct access
to the desired Pro Tools window.
Fourteen dedicated edit buttons are provided for
accessing Pro Tools various editing Modes, Tools
and Functions. Dedicated save and undo
witches are also provided.
Fader Pack features everything found
on the fader section of the ProControl
Main Unit.
Up to five Fader Packs can be added to
ProControl, offering simultaneous
access to a total of 48 channel strips.
◆ An
integrated Trackpad is provided
for times that you require mouse like
control on the Pro Tools graphical
user interface.
The Channel Matrix is a multi-purpose channel
status and navigation control section, consisting
of 32 primary switches, that provides a number
of unique capabilities to Pro Tools including:
Bank and channel navigation; Shortcuts,
commands, text, and data entry; Channel Solo,
Mute, Record, and Select status; Plug-in
parameter page selection; and Group selection,
creation, and editing.
Two Bank Select switches along with a
Nudge function switch allow you to
easily scroll though banks of eight
channels or select adjacent channels.
Four Zoom/Select switches – labeled
up, down, previous next – provide the
same functionality as the arrow keys
on your computer keyboard for
zooming in on audi and MIDI
regions as well as navigating through
and selecting various functions.
Numeric Keypad is also provided
for memory location store/recall, data
entry of counter values and any other
function that is available to your
computer’s keyboard.
To harness the powerful and flexible routing
capabilities of ProTools, ProControl provides a number of analog I/O connectors
that can be connected directly to your
ProTools|HD I/O interfaces and controlled
via the dedicated monitoring section.
Two eight-channel DB25 input connectors
supply ProControl with Pro Tools audio
interface output signals, and external signal
DSP Edit/Assign Area
section is dedicated
to tapping in to
Pro Tools’ powerful
DSP processing
environment, by
offering intuitive
editing and total
recall of all plug-in
parameters. This
area provides 26
illuminated switches plus eight data encoders
and scribble strips for assigning and editing
Digidesign also
offers an
cable kit for
ProControl that includes 3 customlabeled, color-coded cable snakes —
allowing you to quickly and easily
connect this world-class control surface
to your Pro Tools system.
◆ An
eight-channel DB25 output connector
supplies ProControl monitor outputs for
main speakers, alternate speakers, cue mix
systems, mastering decks, and other
The Control Room Monitoring section
supports stereo and surround monitoring
with volume control, source and speaker
selection, mute, dim, mono, talkback,
listenback, and signal routing options.
Edit Pack –
Dedicated Editing
and Surround
Mixing Unit
for ProControl
Two DigiPanners — motorized, touchsensitive panning joysticks based on
patented DigiFader technology
Color-coded, QWERTY keyboard with
support for USB, ADB and PS-2
Twenty dedicated dual-function switches
Ergonomic, two-button 1.5˝ trackball
Eight high-resolution, 40-segment,
dualchroma meters
Three eight-character, seven-segment
numeric displays for region or selection
Start, End and Length values
Comprehensive Machine Control section
with eight track-arming switches and
complete Edit Mode control
Host computer and ProControl
connection via high-speed Ethernet
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Analog Monitor and Control Room Sections
Compact, Expandable Control Surface For Pro Tools TDM
and Pro Tools LE Systems
Motor Mix is a compact and low-cost control surface that offers real time,
hands-on control of any Pro Tools system including transport control, track
arming, motorized faders, mute/solo switches, pan/send control, plug-in
editing and more for Pro Tools and other computer-based digital
workstations. Each unit features eight 100mm motorized faders, and
eight rotary encoder knobs for controlling panning, EQ, auxiliary
send levels, Plug-In settings and more. Nearly every aspect of a
mix is accessible using Motor Mix including automation functions. A 2 line, 40 character LCD display reflects the Motor Mix’s
current operating status including rotary pot settings and effects
parameters; channel assignments, levels and pan settings etc... Up to
four Motor Mix units can be linked together, providing a total of 32 simultaneous
faders. Motor Mix’s small footprint, comprehensive feature set and expandability makes it a cost effective solution for smaller
editing suites, home project studios and hybrid audio/video environments.
Eight Channel Strips
Each of the eight channel strips incorporates a 100mm long-life Motion Sensing
motorized fader as well as a high-quality,
continuously variable rotary pot for control of panning, aux sends, dynamics, plugins and more. A detented rotary selector
with push button, accompanied by a dual
7-segment LED display, provides control
over the rotary pot functionality.
Each channel also features dedicated, backlit Channel Select, Solo and Mute buttons.
Four View buttons provide access to an
unlimited number of mixer channels.
Channels can be switched in banks of 8
channels or via group assignments up to 8
Eight Multi Switches, with green LED status indicator, provide access to eight different channel functions including channel
eq, dynamics, delay and more.
Eight “Burn” Switches with red LED status
indicator can be assigned to control channel audio recording, automation enables,
or other commands you can embed into
project files.
Transport Controls and
Function Switches
Eight System Keys, flanking the left side of
the unit provide access to a number of
functions including: automation enable
and mode selection; group creation; plugin assignment, control and compare; insert
control; Pro Tools window navigation; edit
tool selection; as well as Save and Undo
and more
The Eight System Keys on the right side of
the unit provide access to a full range of
transport controls including Play, Stop,
Fast Forward and Rewind; input/output
assignments; locate functions; monitor and
audition functions for pre/post roll and
in/out punch points; as well as enter and
escape functions and more.
Pro Tools
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
highly visible 40x2 dot LCD display
provides a readout for channel assignments
and rotary pot settings such as PAN, Aux
Send Level, effect parameters, input/output
assignments, channel level meter, and soft
key control.
MIDI In and Out connectors provide bidirectional communication between Motor
Mix and your computer’s MIDI interface.
Expandable – link up to four units for a
total of 32 fader tracks with Pro Tools.
Motor Mix intelligently switches in banks
up to 24 channels wide when using an
expanded system.
Small footprint (101⁄2˝ wide x 121⁄2˝ deep)
allows MotorMix to fit in space-limited
project studios.
◆ An
attractive dual slope chassis design provides easy viewing with an ergonomic feel.
This USB computer keyboard features all of
the Pro Tools key commands and shortcuts
printed directly on its color-coded key caps,
along with all the conventional QWERTY
keyboard letters and symbols.
Remote Controllable, World-Class 8-Channel Mic Preamp
Remote Control
MIDI In/Out/Thru ports accommodate
remote operation via Pro Tools software
and Digidesign control surfaces.
Inputs and Outputs
Eight high-performance, discrete matched
transistor hybrid microphone pre-amplification circuits can accommodate nearly
any input source.
Each channel features support for XLR mic
as well as 1/4˝ direct instrument (DI) and
line level inputs on the rear panel. Two of
the 1/4˝ line/inst inputs are also duplicated
on the front panel for easy access.
Input gain for each channel is variable
from 0 dB to +69 dB, in approx. 3 dB steps.
Switchable 75 Hz @ 18 dB/octave high pass
filter, phase (polarity) reverse, 48 V (phantom power) and an 18 dB pad for each
Selectable impedance matching for optimizing mic, line or instrument inputs
Separate 1/4˝ send and return insert points
are provided for each inputs allowing you
to access your favorite outboard processor.
eight channels are output via DB25
connector. This allows easy, uncluttered
interfacing between PRE and your Pro
Tools interface or other mixer/recorder.
Remote control via Pro Tools allows you to
instantly recall all settings on a session by
session basis and create mix templates with
all routing and control.
Remote operation also allows you to keep
PRE near the audio source and away from
the computer environment.
Circuit Topology:
Input Gain:
–18 to +66 dB in 1 dB steps
Mic E.I.N (unweighted):
built in oscillator, with a 1/4˝ output
connector offers a convenient way of calibrating to other peripherals, such as the 96
I/O and 192 I/O audio interfaces.
features are also supported in standalone mode, including remote control via
MIDI, making PRE an ideal analog front
end for any recording system.
0.001% @
+10 dBu 0 dB gain
> 80 dB @ 60 Hz,
> 72 dB @ 10 kHz
Up to nine PREs are supported through
software for up to 72 channels of remotecontrolled Mic Preamp channels.
< –100 dB @ 40 dB gain, 1 kHz
Frequency Response:
(–3 dB) 5 Hz – 1 MHz
Frequency Response:
±0.5 dB @ 40 dB gain
10 Hz – 100 kHz
Max: Input Level:
(any type) +45 dBu
Input Impedance:
Mic 1.5 k; Line 10 k,
Inst/D.I. 1.5 Mohms
◆ All
◆ All
–127 dB (60dB gain)
150Ω source
THD+N (@ 1 kHz ):
Additional Features
Discrete Matched
Transistor Hybrid
Max Output:
+26 dBu,
balanced 600 Ω, DC coupled
Output Impedance:
~50 ohms
Nominal Level:
+4 dBu
Trim level:
–10 dB
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
PRE is an eight channel, remote
controllable microphone preamplifier
designed to complement the 192 kHz
capabilities and world-class
converters available to Pro Tools|HD
systems. Featuring 8 discrete,
matched-transistor, hybrid micpreamp circuits, PRE can accept nearly
any input signal, easily accommodating
mic, line, and direct instrument (DI)
level inputs on all eight channels. PRE’s
MIDI In, Out and Thru ports allow you
to control PRE’s front panel functions remotely via the Pro Tools software interface or Digidesign control surfaces. This
allows you to place PRE anywhere in your studio (closer to the mic source) as well as instantly recall settings with your
session. All of PRE’s function are also available in stand-alone mode, making the same high-end sonic quality available for
non-Pro Tools applications and all standard MIDI controllers.
High-Quality, Versatile Synchronizer for Pro Tools
SYNC I/O is a multi-purpose synchronization device that supports all
industry-standard clock sources and
time code formats. Accommodating
the high sample rates intrinsic to Pro
Tools|HD with the utmost accuracy,
SYNC I/O features near sample-accurate lock to time code or bi-phase/tach signals and a 192 kHz capable, high-fidelity, low-jitter Word Clock. AES/EBU clock
I/O, video reference in/thru, video program in/out, and a host of other features make SYNC I/O the most consistent,
dependable solution for Pro Tools|HD installations in commercial music and post production facilities.
High-fidelity, low-jitter clock design provides maximum audio fidelity, even when
locked to varying external timing sources
(such as when generating Word Clock from
free-running SMPTE time code).
Extremely fast lock up time while maintaining near sample-accurate lock at sample rates up to 192 kHz.
◆ Word
Clock I/O up to 192 kHz capable
Time code formats supported include LTC,
VITC, bi-phase and MTC out.
Clock sources supported include video reference (blackburst), video signal, LTC
resolve, AES, word, bi-phase, and internal.
Local and Remote Modes
Local Mode allows front panel control of all
parameters, including clock references and
time code reading or generation.
Remote Mode allows you to control SYNC
I/O’s parameters via Pro Tools or the SYNC
I/O Setup application. SYNC I/O switches
to Remote Mode automatically when either
of these applications are launched.
◆ Add
Process, store and retrieve more information
more affordably than ever before. The 80
GB DigiDrive FireWire 80 supports 24
tracks of 24-bit/44.1 kHz audio per drive —
and may be connected to a second drive for
a total of 48 tracks. It’s as easy as hooking
up a FireWire cable.
locked to clock or positional reference formats, SYNC I/O simultaneously
generates LTC, VITC, MTC, Super Clock,
Word Clock and AES Null Clock.
Supports direct translation of bi-phase and
tach pulses to the various output formats,
allowing time code/clock generation from
mag machines and flatbed editors. The reference lock point for the signals can be set
either from the front panel or from the
SYNC I/O Setup application.
Supports industry-standard pull-up/pulldown rates for film/video
Two 9-pin ports allow dual device control
when using Machine Control option in
master or remote slave mode.
Large, bright, and easy-to-read 7-segment
time code display along with source and
status lights, allowing quick and easy access
to reader/generator functionality.
visual time code window burn to video
signals passed through the video I/O.
Positioning and placement of the window
burn can be controlled from Pro Tools or
SYNC I/O setup software.
DigiDrive FireWire 80—Pro Tools-compatible
80GB FireWire Hard Drive
◆ While
Using auto-configuration, all settings can
be saved and instantly recalled with each
Rapid throughput via FireWire connectivity
Certified compatibility with Pro Tools (Mac OS and Windows)
Designed for both removable rack-mounting (with optional rackmount kit) and interlocked stacking, the self-contained DigiDrive enclosure lets you choose the configuration that best fits your system. Plug & play makes setup simple, and FireWire drives can
be hot-swapped without rebooting the host computer.
Digidesign’s exclusive QuietDrive technology dramatically reduces drive noise by up to
20 dB to a whisper. DigiDrive also keeps your data cool and safe with advanced thermal
sensing circuitry that enhances cooling efficiency by controlling fan speed. There’s even
a built-in heat detection/indicator circuit to alert you to potential problems before
either the drive or your critical data are threatened.
Storage Systems for Pro Tools
DigiDrive 36|10k and 73|10k
Designed for both removable rack-mounting and interlocked stacking, the fully
self-contained DigiDrive enclosure allows you to choose the configuration that fits your
system best. It also features Digidesign/Avid’s exclusive QuietDrive technology, which
dramatically reduces drive noise to a whisper (reduces drive noise by up to 20 dB), so you
can listen to your audio instead of your gear.
The 36GB drive stores 6,800 track minutes
of 16-bit/44.1kHz (Red Book) audio, which
gives 280 minutes of 16-track recording. At
24-bit resolution, handles 4,400 track minutes, enough for 180 minutes of 24-track
recording. (The 73GB doubles all of this).
Certified compatibility with Pro Tools (Mac
OS and Windows). DigiDrive Tuner application optimizes drives for Pro Tools
Support Fast/Wide, LVD and Ultra160 SCSI
Quick-Release rack-mount or interlocking
vertical stacking
Non-proprietary docking means audio-anywhere portability
Built-in heat detection/indicator circuit
alerts you to potential problems before
either the drive or data are threatened.
Advanced thermal sensing circuitry protects
data integrity and also keep your data cool
and safe by controlling fan speed.
DigiDrive MediaDock II
Maximize the efficiency and versatility of your Pro Tools production
environment with the DigiDrive
MediaDock line — a removable
storage system for post production,
professional and project studios. MediaDock provides an optimal solution for data
transfer, portability, and backup, streamlining workflow while protecting your work.
Products include MediaDock Shuttle|36, MediaDock Shuttle|73 and MediaDock II chassis.
Incorporating high-performance LVD technology, MediaDock II’s compact 2U chassis provides two bays that support DigiDrive MediaDock Shuttles as well as legacy and current LVD
shuttles. Both bays have their own SCSI bus with two 68-pin connectors and front-mounted
SCSI ID selection switches.
Front-panel LEDs monitor power, temperature and shuttle functions, while a variable-speed,
temperature-sensing fan and an internal auto-ranging power supply ensure that your projects
stay up and running. Along with the included rack-mount kit, DigiDrive MediaDock II ships
with either two 36 GB or two 73 GB DigiDrive MediaDock Shuttles.
SCSI solution for Pro Tools|HD
SCSI|128 offers 128 tracks of record
and playback with Pro Tools|HD on
both Mac and Windows when used
with LVD drives.
◆ Built-in LVD support results in
improved data integrity, and allows for
cable lengths up to 12.5 meters per bus
accommodating strategic placement of
your LVD-supported SCSI drives.
◆ Includes ATTO UL3D Dual Channel
Ultra3 SCSI Host Adapter and two
cables, pre-tuned for optimal performance with Pro Tools|HD.
◆ UL3D's two external channels handle
throughput up to 160 MB/second per
◆ The SCSI|128 kit also supports up to 64
audio tracks on Pro Tools|24 MIX and
d24 systems on both Mac and
DigiDrive RackMount Kit
The 2RU DigiDrive Rackmount Kit
allows you to quickly and easily slide in
or remove up to 2 DigiDrive hard drive
units, making it easier than ever for you
to transfer your sessions back and forth
between different Pro Tools systems.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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Fast 10,000 RPM hard drives (36 and 73 GB
capacities) offer transfer rates of up to 160
MB/second, and super-fast seek time of 5.1
ms read and 5.2 ms write.
SCSI|128 Kit
In a world crowded with generic hard drives, DigiDrives takes the guesswork out
of finding the perfect mate for your Digidesign system. Optimized for certified
compatibility with Pro Tools, DigiDrives deliver the speed, capacity, versatility
and reliability to handle your most demanding projects. And, you can be sure
that your investment in a DigiDrive will be a safe one. Dealing directly with
Digidesign customer support including guaranteed next business day replacement in most locations will help to keep your sessions on track.
Professional Multi-Port MIDI Interface
The MIDI I/O is a multi-port MIDI
interface designed by Digidesign to
deliver a completely robust and
powerful MIDI solution for all Pro Tools
systems. Equipped with ten MIDI input
and output ports for a total of 160 channels, MIDI I/O connects to the computer
and is powered via USB. MIDI I/O is housed in a rugged metal 19˝ chassis making it simple to plug and unplug cables
when the unit is rack mounted. If you’re looking for a way to bring unity to all your racks of synthesizers, samplers and other
MIDI gear, MIDI I/O is the interface you’ve been waiting for.
Ten simultaneous MIDI I/O ports supporting a total of 160 MIDI channels
Up to four MIDI I/Os can be connected to
your Pro Tools system simultaneously for a
total of 40 I/O ports, providing access to a
total of 640 MIDI channels.
Programmable hardware thru mode patches
any inputs to any combination of outputs
Full OMS compatibility
Connects to the computer via USB, providing an accurate and stable way of transferring multiple channels of MIDI data. The
MIDI I/O also draws its power from the
USB port – no wall wart, and no need to
add another power strip just to plug in one
more power cable.
Output ports 9 and 10 mirrored on front
and rear panel
Digidesign Time-Stamping support delivers
rock solid timing accuracy of less than one
millisecond thus alleviating the inherent
timing and jitter issues normally associated
with recording and playing back MIDI
information using a computer.
CD Mastering Software
MasterList CD 2.4 provides the final link between your digital
audio workstation and professional CD masters. With MasterList
CD 2.4, your Digidesign digital audio workstation is transformed
into a cost-effective, professional CD mastering solution — all in
one integrated system. Running stand-alone on any compatible
Power Mac—no Digidesign hardware required—MasterList CD
lets you easily produce Red-Book standard, CD-DA masters.
Supports the full feature set of many SCSIbased CD recorders
◆ Supports 1x, 2x, 4x, 6x, 8x and 12x write
◆ File support includes Sound Designer II and
AIFF 16- and 24-bit, mono and stereo files,
as well as split-stereo files from Pro Tools
(24-bit files are dithered to 16-bits during
disc writing).
◆ Make seamless transitions between tracks
using editable, non-destructive, RAM-based
Up to 100 auto-locate points for auditioning
between tracks
Definable crossfades between MasterList
Independent channel level adjustment from
96 dB to +12 dB in 0.1 dB steps.
Easy level matching across the entire CD,
provides location and level details of the
audio peak within a selection
Create up to 99 tracks per CD, with up to
100 index points per track. Index points can
be manually entered or set using Sound
Designer II markers or region boundaries
from Sound Designer II and Pro Tools.
Supports the full set of PQ subcodes, allowing the CD to be precisely defined as
desired, whatever your needs.
Individual track level cut and boost
Created CDs can be used to directly make
the glass CD master during CD production,
eliminating the additional expense and
potential errors associated with conventional
tape transfer and manual PQ subcode entry.
AT 349 W. 34th STREET (with purchase of $100 or more)
Available for Mac and Windows-based systems, Machine Control enables easy integration and control of external audio/video
equipment within the Pro Tools workstation environment. Machine Control lets you be more productive by allowing you to control
external devices using quick, intuitive key commands directly from your computer keyboard. Features that you would expect to find
in hardware-based systems, such as FF, REW, jog/shuttle, and so on, are easily accessible via the Pro Tools graphical interface.
Slave TDM-equipped Pro Tools systems
to external controllers via 9-pin Remote
Mode for the trigger of playback,
recording, and track arming from a
remote machine.
When used with Pro Tools 4.3 and
higher, Machine Control also offers track
arming with insert and assemble
Control your audio or video machine’s
transport operations within the Pro Tools
environment: jog shuttle, FF, REW, etc.
Transport counter keeps you informed of
the machine’s position at all times
Supports compatible non-linear video
Status indication in the transport window
provides user feedback for the various
control modes. Even displays the difference between Shuttle mode and FF/REW
Auto-detects many commonly used
transports and presents the appropriate
track configuration to the user for intuitive, integrated lay-backs to master
Scrub audio and video simultaneously
from within ProTools. Check your audio
and picture sync quickly and efficiently
using the scrub-to-picture feature of
Machine Control.
Alerts Pro Tools if a machine’s
local/remote mode has been changed
from its front panel, eliminating communication problems that may otherwise occur.
Integrated Machine Control Option for Pro Tools
EDL Import/Autoconform Software
PostConform is an EDL (Edit Decision List) import
/autoconform software for Pro Tools systems that
enables automatic capture and spotting of audio
elements to picture. With PostConform, the timeconsuming process of loading and conforming field
audio and other audio elements can be
accomplished automatically, greatly
increasing productivity. PostConform
automates the process of assembling an
EDL into a Pro Tools session file, first by
importing and sorting the EDL. Then, the user can select all or only certain source elements for loading and can specify additional record
handles for future editing flexibility. At this point, the autoconform process begins. PostConform prompts the user to load successive source
reels into a remotely controlled deck. Using Digidesign’s optional Machine Control, PostConform automatically locates and records the
sound elements selected by the user and assembles these elements into their proper position in the program — as specified by the EDL. If the
picture editor makes changes to the program, PostConform can re-conform the loaded sound elements to a new EDL.
Sources can be recorded and conformed to a new Pro Tools session or
placed into the currently-open session via Apple Events
Includes 9-pin serial machine control cable, but also requires Sync
I/O or LTC-to-MTC converter (not included).
Adjustable “checkerboard” feature allows you to organize assembled
elements and to manage overlapping events
Flexible sorting of EDL elements by Source In, Record In, or Reel
Supports 9-pin and V-LAN compatible external video and audio
transports and TimeLine Lynx I or II synchronizers for additional
Supports CMX 3400-and 3600-series EDLs.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
OMF Interchange Utility for Pro Tools
To facilitate the seamless exchange of sound and picture elements, Avid developed OMFI (Open Media Framework Interchange).
Dozens of manufacturers support OMFI, and hundreds of Pro Tools customers rely on OMFI every day for file interchange with
other workstations, such as Avid's Media Composer.
DigiTranslator 2.0 takes OMF Interchange to the next level by offering rock solid reliability and more control over the conversion
process than ever before, all within the Pro Tools environment..
Packed with sophisticated conversion options, DigiTranslator 2.0 allows translation of clip-based volume data, a choice between
rendered audio effects or untreated sources, and options for media copying and consolidation. The online tool tips provide constant
feedback at every step of the conversion process. With DigiTranslator 2.0 fully integrated into Pro Tools, a previously unattainable
degree of efficiency is now available to post professionals. Without launching a separate application, you can take advantage of
DigiTranslator 2.0’s many features directly, including the import and export of OMF media files and sequences. And, with
DigiTranslator’s thorough reporting of any translation errors, you always know what to tell the picture editor if a problem arises.
Supports import and export of OMF media
files and sequences directly into Pro Tools
without launching a separate application.
Translation of both clip-based and keyframe
volume data into Pro Tools breakpoint
automation playlists
Reads and writes Broadcast WAV (.WAV)
files, as well as AIFF and Sound Designer II
OMF audio files
Choice of importing either rendered audio
effects or their untreated source files
Supports import/export of 24-bit OMF files
Engineered and tested to deliver reliable
interchange with Avid picture workstations
Integrated frame rate, sample rate and bitdepth conversion
Embedded-media OMF sequences play back
without time-consuming extractions
Simultaneously converts audio and/or video
media data
Creates sample-accurate exports of Pro
Tools audio and session files for Avid and
other OMF 2.0-capable systems
Pro Tools requires AVoption or AVoption|XL
for import and playback of AVID video
Advanced Authoring Format (AAF) Support
Pro Tools 6.1 adds support for Advanced Authoring Format (AAF) via the DigiTranslator option. AAF is a media interchange file format that
enables content creators to easily exchange sequence information, digital media, and metadata across platforms and between systems and
applications. AAF simplifies project management, saves time, and preserves valuable metadata that in the past was typically lost when
transferring program material between applications.
Digidesign will be the first audio company to bring this new level of interchange to the market. Additionally, Avid, a founding member of the
AAF Association, will now support AAF interchange across the entire Avid and Digidesign product line.
Surround Encoding/Decoding TDM Plug-ins
Dolby Surround Tools makes surround mixing very efficient for Pro Tools users. D-A and A-D
conversions are no longer needed due to the Dolby Surround Tools’ encoding and decoding
processes matching those of the industry standard Dolby Model SEU4 and SDU4 units. In
addition, Dolby Surround Tools also supports the Pro Tools multi-channel mixer and sample
rates up to 96 kHz.
While Dolby Surround Tools is not designed for the final mixing of matrix-encoded theatrical
film soundtracks, it can be used to preview the results of the process (4-2-4 monitoring) on the
discrete four-channel audio tracks (L, C, R, S) that will subsequently be combined with other
elements during the final mixing of film soundtracks. This is a vital asset for any facility that
regularly supplies four-channel sound effects and music recordings for theatrical film
productions. (Dolby Laboratories continues to supply producers with dedicated film sound
encoder systems for final film mastering.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Modeled after their respective Red Range hardware counterparts,
the Focusrite D2/D3 bundle brings high quality equalization and
professional dynamic control to Pro Tools.
Designed by Rupert Neve, the 24-bit D2 is for the professional who
requires the highest levels of performance and maximum versatility
in a software-based EQ providing multiple modular configurations.
With superior resolution, intuitive graphics, dynamic automation
and save/copy/paste options, the D2 takes full advantage of the
power and capabilities of the Pro Tools TDM environment.
Red Range 2 Dual EQ
Red Range 3 Compressor/Limiter
Provides three different mono or stereo modules: six band, four band,
and dual/single band. These versatile configurations allow DSP power
to be used where it is needed most. Any band type (or types) can be
accessed up to the available DSP power in the system.
Provides two mono or stereo configurations.
The Compressor+Limiter supplies both compression and limiting at
all times. Also allows users to select compression or limiting,
conserving DSP power for other operations as necessary.
Includes high- and low-pass filters, high and low shelving filters and
high-mid and low-mid peaking filters.
One D3 plug-in can be used multiple times simultaneously, limited
only by DSP capacity.
Pro Tools supports side-chain processing with D3, accepting postfader input from any track or bus to control dynamics parameters.
All settings are automatically restored and recalled with the Pro Tools
◆ Analog-style
overload indicators track clipping and a highly accurate
Cartesian graph displays EQ settings as they are being adjusted. When
an offset exists for the left and right channels, the graph will display
both channels simultaneously.
Don’t forget that, like other TDM Plug-Ins, you can run multiple D2 and D3 plug-ins up to the limits of your available DSP power. This
means that, for the price of one plug-in bundle, you'll have access to multiple Focusrite processors, making this extremely cost effective.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
The D3 provides flexibility and versatility through separate insert
configurations in addition to its highly impressive sonic characteristics.
The D3 also functions in AudioSuite, providing file-based processing
and conservation of DSP resources. Like the D2, the D3 takes takes full
advantage of the power and capabilities of Pro Tools to offer dynamic
automation, multiple inserts and save/copy/paste options.
Both the D2 and D3 interfaces closely emulate their respective sibling
Red Range hardware units, with their red brushed-aluminum panel
graphics, illuminated push buttons and rotary control knobs. A floating
editor window supplies instant access to the various modules of the D2
- six band, four band, or dual/single band - or, in the case of the D3, one-button access to both compressor and limiter modules.
A numeric display area is located below each rotary knob for continuous feedback and also allows numeric entry from the keyboard, if desired. For precise processing, independent input and output level controls and high-resolution plasma-type meters
are also provided. With the D2, offset level adjustment is accommodated by use of the left, right and link controls.
Multiband EQ and Compressor
(TDM, RTAS & AudioSuite)
Create professional-sounding master tracks for your Pro Tools sessions with
Maxim. More than just a world-class peak limiter, Maxim optimizes the overall
level of the audio input while preserving the integrity of the original sound. Its
proprietary sound level maximizing technique distinguishes it from analog
limiters and digital versions of them, which often add unwanted distortion or
coloration to the audio. The result is transparent, or perfect, peak limiting.
Maxim also offers built-in dithering, on-line help, and a full-color Histogram,
making it an indispensable plug-in for mixing and mastering in the Pro Tools
TDM-based, RTAS or AudioSuite environments.
Rather than clipping peaks, Maxim uses an
advanced proprietary technique that takes
advantage of the Pro Tools non-linear environment to intelligently process the signal
It looks ahead to anticipate peaks in the
audio file and then reduces them —relative
to the track's lower level audio — without
changing the overall sound quality. The
result is perfect peak limiting that preserves
the sonic characteristics of the audio in a
way not possible with any other limiters.
Peak Limiting and Sound Level Maximizer
In addition, Maxim automatically adjusts
the over-all gain of the audio to meet the
ceiling as limiting is applied. In other words,
it combines advanced peak limiting (without
clipping) and normalization
Flexible enough to be used as a dynamics
processor on any a channel or across an
entire mix
or 20-bit Dithering improves audio
performance and reduces quantization noise
when mixing or fading low-level audio signals.
Color Histogram helps you determine where
the energy resides in a song, and provides
valuable visual feedback for precise threshold adjustment. Maxim always provides a
full graph reading,whether the playback
period is 10 seconds or 10 minutes long.
Display also includes plasma-type input and
output meters, a threshold slider, output
ceiling, and attenuation meter.
Compatible with Mac OS, Windows 98, and
Windows NT-based Pro Tools systems.
◆ 16-, 18-
In addition to TDM, RTAS, and AudioSuite compatibility, Maxim, D-Verb and D-Fi all offer realtime,
dynamic automation of virtually every parameter.
High-Quality Reverb
D-Verb brings professional-quality reverb or ambience processing to your
Windows or Mac-based Pro Tools session. From spacious halls to intimate
rooms, D-Verb provides you with several different high-quality reverb
algorithms to apply to single or multiple tracks of your session. Delivering
real-time processing with automation of every parameter, D-Verb can be
run on single or multiple tracks, auxiliary inputs and group masters, and in
mono, stereo, or mono-to-stereo to create a stereo image from a monotrack.
With an attractive interface, easy on-screen editing, superb audio quality,
the ability to do the work of multiple stand-alone reverb processors, and
your choice of TDM, RTAS or AudioSuite processing, D-Verb is the perfect
addition to any Pro Tools system.
D-Verb has seven reverb algorithm (Hall,
Church, Plate, Room 1, Room 2, Ambience
and Non-Linear) and has control over room
size, diffusion, decay and pre-delay.
Separate low-pass and high-cut filters make
it easy to tailor the reverb sound to your
needs. Reverb presets may be saved or
recalled from disk for added flexibility.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Multiple reverbs may be run simultaneously
◆ All-digital
signal and mixing path
Save, Copy, and Paste settings
Retro instruments and processors are often used to create
certain sonic signatures in contemporary music. D-Fi is a
unique family of four (Lo-Fi, Sci-Fi, Recti-Fi and Vari-Fi)
plug-ins that can provide similar sound design tools to
Pro Tools users, without having to re-sample the audio files
through an 8-bit sampler or run a file through a modular analog
synth. While Lo-Fi provides bit-reduction for retro sound processing without the expense of retro equipment, Sci-Fi adds analog
synth-type ring modulation, frequency modulation, and variable
frequency resonators. Recti-Fi provides super- and sub-harmonic synthesis, and Vari-Fi allows processing of disk files to create the effect of audio changing speed to or from a complete stop.
• Variable amplitude noise generator
• Sample rate reduction
• Sample size reduction
• Anti-aliasing control
• Soft clipping distortion and saturation
• Ring modulator
• Frequency modulation
• Positive and negative resonator
• Modulation control by LFO, envelope
follower, sample-and-hold, and triggerand-hold
• Full wave rectifier
• Subharmonic synthesizer
• Pre-filter for adjusting effect frequency
• Post-filter for smoothing generated waveform
(AudioSuite Only)
• Speed up from a complete stop to normal
speed, or slow down to a complete stop from
normal speed
Digidesign and Digidesign Development Partners make a wide range of plug-ins for four
different Digidesign Plug-In formats — Pro Tools|HD professional systems supports all four.
Digidesign’s Time Division Multiplexing (TDM) technology is the
foundation of the Pro Tools professional environment, providing 24-bit
mixing and real-time digital signal processing (DSP) capabilities. TDM
Plug-Ins use the dedicated hardware of TDM systems, which offer easy
expandability — add as many TDM plug-ins as you want —up to the
DSP capacity of your system, no matter how many edits or how much
automation you have in a session. If you need more DSP, simply add
another HD Process card.
Host Time Division Multiplexing (HTDM)represent a hybrid of TDM
and RTAS technologies. HTDM Plug-Ins provide all the logistical
functionality of standard TDM Plug-Ins, but, like RTAS Plug-Ins, they
allow for all the processing to be done on the host. In so doing, HTDM
Plug-Ins offer two primary benefits: The resources of the Pro Tools|HD
Core and/or Process card remain available for other tasks; and, despite
running on the host, HTDM Plug-Ins can be instantiated on any track, a
characteristic previously confined to TDM Plug-Ins only.
Real-Time AudioSuite (RTAS)
Real-Time AudioSuite Plug-Ins are host-based processors, using the
computer’s processing power to do their job. Functionally, RTAS
Plug-Ins offer many of the real-time benefits of TDM Plug-Ins. They are
fully automatable, their parameters can change in real time, and their
effects are not permanently written to the audio file. Since they are
host-based, RTAS Plug-Ins require trade-offs between track and plug-in
count, edit density and amount of mix automation in a session.
AudioSuite Plug-Ins provide file-based processing, meaning they process
or alter the sound file and create a new file with the processed sound.
The resulting effect is applied to the entire file. AudioSuite Plug-Ins are
great for conserving DSP power and certain types of processing where
there is no real-time benefit or application, such as normalization and
noise reduction.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
While Pro Tools offers extremely high quality
signal paths with extremely low distortion
and noise artifacts, the D-Fi plug-ins alter
this in the name of creativity. Lo-Fi
diminishes the audio quality through bit-rate
reduction, and pure unadulterated noise and
distortion. Sci-Fi contorts the audio signals
through ring modulators and resonators.
Recti-Fi warps the signal through waveform
rectification. Vari-Fi simulates turntables
starting-up or slowing-down while playing
back audio. All support MultiShell II for DSP
sharing on TDM systems.
Analog and Retro Processing
in the Digital Domain
Cross-Synthesis Plug-In Duo for TDM Systems
Take your audio into creative new realms of
sound with Bruno and Reso, two TDM
plug-ins for Pro Tools. Both use a crosssynthesis technique to synthesize any existing
audio in real-time to create some very unique
and interesting results.
Both plug-ins can be played interactively via
MIDI using an external controller. Play a
chord progression or a scale on your keyboard,
and Bruno or Reso will apply the performance
to your audio. In addition, an on-screen
keyboard allows you to latch the keys to create
chords or play a scale right on the screen.
Bruno & Reso is a seriously advanced piece of
software, but it isn't rocket science to use. Just grab the knobs, start dialing and have fun. In the process, you’ll take your
audio to amazing new place.
up to 24 voices, Bruno & Reso allow
you to create a deep layer of adjustable
resonant tones. Shaping and modulation
parameters can be adjusted with a wide
selection of on-screen control knobs.
◆ With
Timbre, amplitude, pitch, stereo spread,
low-pass filter, Q and follower
characteristics can be fully automated.
In addition, velocity and pitch bend
parameters can be controlled by your
keyboard. MIDI clock capabilities and an
envelope follower let Bruno/Reso match
the groove of the source material.
Bruno uses time-slicing, a technique whereby timbres are extracted from the source audio during playback and crossfaded together. Crossfade lengths between these sections can be adjusted
and a switch function produces additional textural changes. Switch can be triggered by threshold, MIDI beat clock or keyed to an external track. Further shaping and modulation is achieved
through a wide variety of timbre, amplitude, pitch, voice and stereo spread parameters.
Reso has similar features as Bruno, but uses a resonance generator to add harmonic overtones.
Damping and other processing knobs help shape the sound. An all/odd harmonics toggle can be
triggered from an external keyboard in the same manner as Bruno's switch control. At the end
of the chain, a resonant filter modulates low-pass frequency sweeps with adjustable Q and
follower knobs.
Pitch Processor for TDM Systems
The DPP-1 brings high-quality 24-bit pitch change and delay processing
to the Pro Tools TDM environment. The DPP-1 can operate in mono or
stereo modes, and supplies up to 4 octaves of high-quality stereo pitch
transposition on single or multiple mixer channels. With easy on-screen
editing and program storage, and the ability to run multiple pitch
processors for the price of one plug-in, the DPP-1 can do the work of
multiple standalone pitch processors — at a far lower cost.
Internal 24-bit processing and high-quality
deglitching pitch change algorithm provides
excellent sound quality
Easy-to-use software interface makes operation straightforward
Pro Tools TDM systems supply a versatile
mixing and processing environment, letting
you use the DPP-1 Pitch Processor on single
or multiple channels, which can come from
any input source: disk playback, live input,
TDM-equipped SampleCell II Plus, etc.
Libraries of parameter settings can be saved
and loaded by using the Pro Tools Plug-In
Librarian. With the additional DSP power
available, you can run multiple DPP-1 Pitch
Processors simultaneously.
◆ Independent processing control over left and
right channels
◆ 4-octave pitch range
◆ Delay processing with feedback
◆ Automation features, including dynamic
TDM Plug-In automation
If you're looking for a reverberation processor of uncompromising
sonic quality that's also easy to use, look no further than the Reverb
One. A TDM plug-in, Reverb One is a reverb processor built from
the ground up by Digidesign to satisfy demanding audio professionals.
At every step in its development, Reverb One was subjected to critical listening tests, resulting in a TDM plug-in that can compete with
any software or hardware reverb processor on the market today.
Reverb One gives you complete control of the reverberant characteristics of your mix, and is equally at home in music, post
production and sound design applications that require the utmost in clarity and precision.
➣ In addition to the exceptional quality of its reverberation, Reverb One provides a
unique set of shaping tools that let you modify the details of a sonic space. You’ll find
standard controls for room reflections settings and decay time, as well as for
multi-band equalization, reverb dynamics (for long tails or gated characters) and
chorusing. With Reverb One, you get everything you need to control all aspects of
reverb in a single plug-in window — and editing reverb characteristics is
straightforward with its intuitive, editable graphic displays.
➣ For all the versatility of Reverb One, it is remarkably easy to use. Its interface conveys
reverberation character at a glance, and a wealth of carefully designed presets gives you
everything you need to get started. From natural-sounding halls, to vintage plates or
that classic digital reverb setting, Reverb One allows you to customize your creative
soundscape to anything you can imagine.
➣ As with any TDM plug-in, you can take advantage of the ability to automate any
Reverb One parameter in real-time, and to recall all plug-in settings in Pro Tools.
With its extraordinary sound quality and versatility, it's hard to believe that Reverb
One only takes up a single DSP chip.
Independently controllable reverb settings,
including Level, Decay Time, Attack,
Spread, Room Size, Diffusion, Pre-Delay
Extensive library of reverb presets
Early reflection controls, including Level,
Delay, Spread, plus early reflection room
Dynamics and Chorus sections for shaping
reverb decay and optimizing reverb effects
Multiband EQ with adjustable crossover
points for shaping tone spectrum of both
early reflections and reverb tail
Reverb color controls allow independent
adjustment of harmonic content and decay
times over different frequency ranges
Interactive early reflection and reverberation contour display
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
World-Class Reverb Processing
for TDM Systems
The DPP-1 supplies an intuitive user interface
that utilizes musical staff notes and octave
switches for up to 4 octaves of stereo pitch
change, adjustable in semi-tones or cents.
Clicking on a musical note value on the onscreen staff allows quick navigation to new
pitches. In addition to pitch change, the DPP-1
supplies an additional delay line with up to
125 ms. of delay per channel, with positive or
negative feedback. Signal presence and internal
clipping metering is provided.
Intelligent Noise Reduction
(TDM & AudioSuite)
DINR (Digidesign Intelligent Noise Reduction) is an awardwinning plug-in for real-time, high-quality broadband noise
reduction and hum removal. A software-based, digital signal
processing module, DINR is designed to reduce the full spectrum
of unwanted noise, from air-conditioner rumble to tape hiss to
guitar-amp buzz, for more professional results.
◆ DINR reduces noise by intelligently subtracting the noise from the digital
audio file. First, the noise signature is created by selecting and analyzing
an example of the noise within the source material. Once the noise is
analyzed, an on-screen slider can be used to apply from 0.1 dB to an
infinite amount of noise reduction.
◆ Other parameter settings can also be adjusted on-the-fly to achieve maximum noise reduction while minimizing signal loss and artifact generation.
◆ And since DINR analyzes and subtracts noise entirely within the digital
realm, the results can be virtually free of side-effects such as distortion,
dynamic modulation and the undesired fluctuations in frequency response
associated with conventional noise reduction systems.
◆ Parameter settings can be saved and recalled for use on other source audio
files affected with similar noise. Plus, the noise signature of any device can
be kept and used with other source material the device may affect.
◆ All noise signatures and parameter settings are automatically
stored with your Pro Tools session for instant recall.
◆ High fidelity, real-time processing with TDM and file-based
processing with AudioSuite
◆ Automation features including dynamic TDM plug-in
◆ Compatible with Pro Tools systems (4.1.1 or higher) running
on Mac or Windows NT
Surround Metering (TDM & RTAS)
Now you can visualize the surround capabilities of Pro Tools with
DigiDesign’s SurroundScope plug-in. With its intuitive interface, you
can accurately see what your listeners will hear — right from within
Pro Tools. SurroundScope provides a graphical display of the signal
level for each audio channel within the multi-channel sound field in
a Pro Tools mix. The phase meter shows coherency of your signal
across the full spectrum, from perfect mono to completely out of
phase. In addition to its surround and phase displays, SurroundScope
features a multi-channel level meter that supports up to eight
channel tracks.
Real-time, accurate display of stereo or
multi-channel phase information and levels
◆ Support for all standard multi-channel formats: stereo, LCR, LCRS, Quad, 5.0, 5.1, 6.0,
6.1, 7.0 and 7.1
Auto detection of a track’s channel format
Multi-dimensional display shows position of
the audio signal within the multichannel
track or surround mix
Full-featured center-zero and Lissajous
phase meter display
Highly accurate level meters for each channel of a multi-channel
AudioSuite Plug-In Package
The perfect addition to any system running
Pro Tools, D-fx offers a great selection of
time-domain effects in one affordable package
Each D-fx plug-in is designed for intuitive
use, with a consistent graphic interface for
every effect. All parameters are displayed on
one screen allowing instant adjustments.
Since D-fx is completely integrated
into the Pro Tools software, there’s
no transition time lost switching
between effects processing and editing.
In “stereo” mode, all D-fx plug-ins allow
processing of two channels as left and right;
or, combine the two input signals for a
mono in/stereo out effect
Use with Pro Tools systems for file-based
effects processing
Save and recall settings, using Pro Tools
Plug-in Librarian and Settings pop-up
Drum Hit & Sound Replacement
SoundReplacer is definitely one of the most unique and innovative
plug-ins on the market today. As a Drum Hit and Sound
Replacement tool for Pro Tools, SoundReplacer allows you to replace
or blend up to three different samples to three independent
adjustable amplitude threshold zones with your existing audio file.
For more than just repairing weak mixes, this AudioSuite plug-in
has enormous creative potential for sound design and post
production applications.
➣ SoundReplacer is a unique AudioSuite Plug-In that lets you replace or mix an audio event
with new samples from your sound library or hard drive. It is the perfect solution for that
all-too-familiar situation of the imperfect drum track. SoundReplacer allows you to retain
the feel of the original performance by automatically adjusting the dynamics of the
replacement sound to match the changing levels within the performance.
Load your favorite samples from your
sound library, hard drive, etc.
Trigger up to three samples, each set to a
customizable threshold zone
➣ What's more, SoundReplacer lets you replace or blend up to three different samples to three
different adjustable amplitude threshold zones in the audio file. Variations in amplitude
within the performance determine which sample is triggered at a given time. Performances
can be further adjusted with a mix slider, dynamics slider and a peak align feature.
Crossfade or hard shift between samples
Set the amount of sample replacement
using the adjustable mix slider
Expand or contract a performance's
dynamic range
Ensure phase-accurate alignment using the
Peak Align option
➣ Although perfect for repairing weak mixes, SoundReplacer also has enormous creative
potential for sound design and post production applications. Sound effects designers can
morph three different characteristics to a single source file, thereby adding a sense of realism
to an audio track.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
The D-fx family of AudioSuite plug-ins offers a great selection of timedomain effects all in one affordable package and is a perfect addition to
any system running Pro Tools software. D-fx includes several effects
including Chorus, Flanger, Multi-Tap Delay and Ping-Pong Delay. D-fx
also includes D-Verb for use in both RTAS and AudioSuite environments.
World-Class DSP-based Synthesizer for Pro Tools TDM
Based on the highly acclaimed and successful Access Virus hardware
synthesizer, Access Virus is a TDM-based synthesizer plug-in that transforms
your Pro Tools system into a luscious 20-voice synth at 48k and 10-voice synth
at 96k on Pro Tools|HD – with up to eight different sounds per DSP chip.
In addition to offering incredible warmth and quality, this “virtual analog”
synthesizer also features perfect Pro Tools integration, extensive automation
and total recall capabilities. MIDI and audio connections are a breeze to set
up, allowing you to start playing Virus in seconds. It is also offers several user
interface pages for different sets of parameters, so every single control can
receive a dedicated knob or switch. Gone are the headaches associated with glaring at tiny LCD displays.
◆ Access Virus
features three oscillators, two
filters, three LFOs and two envelopes for
every voice. It also provides built-in effects
like chorus and delay for creating stunning
pads, screaming leads, punchy bass sounds
or whatever you might have in your mind.
Includes more than 500 extremely variable
and useful sounds -everything from Moog
basses to analog drumkits
Fully automated with frame accuracy for
over 150 parameters
Direct Pro Tools integration allows easy
MIDI/audio routing and takes advantage of
the powerful mixing features in Pro Tools
Loads patches directly from the original
Access Virus hardware—no need to
reprogram all your existing sounds
Use input mode to modify single tracks or
entire mixes with powerful resonant filters.
Enable the vocoder and add the robotic
sound to your recording using other tracks.
Runs on a dedicated DSP for true power-ondemand, up to eight multi-timbral synthesizers per DSP
Built-in arpeggiator syncs to MIDI beat
clock and follows your song tempo at any
time. (Ultra low latency for extremely fast
MIDI-to-audio timing).
Up to 80 voices on a Pro Tools|24 MIXplus
Pro Tools plug-in library function allows
easy patch management and exchange
Bass and Harmonic-Generating, Detail Enhancing Bundle
Want to enhance the bass frequencies in your Pro Tools sessions? Aphex
Systems’ Big Bottom Pro is a powerful TDM plug-in for Pro Tools that
will add all the excitement and punch you need to the lower frequencies
in your mix. And Big Bottom Pro comes bundled with Aural Exciter
giving you the same unique ability to increase presence and restore
natural brightness and detail, without significant EQ. The Aural
Exciter/Big Bottom Pro plug-in bundle supports Mac and Windowsbased Pro Tools|HD systems at sample rates up to 192 kHz.
The Big Bottom circuit works on the bass
end frequencies and adds low-end presence
and punch without adding peak level. This
lets you pack more bass into your sound
without overloading recorders or blowing
up speakers. The Big Bottom Pro plug-in is
an enhanced, pro version of this powerful
circuit. Used together with Aural Exciter,
Big Bottom Pro completes the enhancement of the entire audio spectrum.
The hardware version of Aphex Aural Exciter, its patented circuitry helps recorded or amplified
audio get closer to the natural acoustic sound — clean, open, present and detailed. The effect is
achieved by adding musically and dynamically related harmonics to the input signal. This effect
has been used on thousands of recordings, movies, commercials, broadcasts and live concerts.
• Brings instruments and vocals up “out of the mix”
• Patented Harmonic Generation Process can actually increase bandwidth without increasing level
• Increases presence, clarity, speech intelligibility, and detail without significantly increasing peak output
• Total flexibility in “tuning” the Aural Exciter to your needs
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
The Drawmer Dynamics plug-in provides premium quality gating,
compression and limiting to Pro Tools TDM users. Drawing on 20
years of experience in innovative signal processing, the Drawmer
Dynamics plug-in offers the performance attributes as well as the
look and feel of world-renowned Drawmer analog units.
Based on Drawmer’s legendary DS201 Noise Gate, the Gate/Compressor/
Limiter plug-in is the ultimate processing tool for percussive and highly
transient material.
The Side-Chain Trigger can be set to key the gate from any audio track you
choose, providing limitless processing possibilities. Key filters “tune” the gate
to the required frequency to assist triggering, while the ultra-fast attack time
adds punch. Audio is further enhanced by the compressor and is kept under
precise control by the limiter.
For less percussive signals like vocals, guitar, and piano, Drawmer’s Program
Adaptive Circuits can intelligently shape and enhance the signal, breathing
life into dull tracks and gently controlling excessively dynamic passages.
The Expander/Compressor/Limiter plug-in is based on the
Drawmer DL241 Auto Compressor and DL251 Limiter.
Auto gain adjusts the gain of the compressor when the
threshold or ratio controls are adjusted.
Drawmer Dynamics takes full advantage of the latest Pro
Tools functionality including dynamic automation, total
save and recall of all parameters and mapping to external
control surfaces.
Reverb Plug-in for Pro Tools TDM
LexiVerb combines world-class Lexicon reverb with a simple, yet powerful
interface to create an indispensable tool for your Pro Tools system. Pro Tools
automation is supported and LexiVerb parameter groupings, giving you total
control over multiple parameters with a single fader. LexiVerb provides over
100 presets built from four powerful algorithms.
With the award-winning LexiVerb TDM Plug-In, no additional hardware is
necessary to obtain the legendary Lexicon Sound — the sound that's heard on
more than 80% of the world’s most successful albums and soundtrack
◆ With
LexiVerb, Pro Tools users can achieve
that legendary Lexicon Sound with all the
benefits of the TDM plug-in architecture.
LexiVerb features four powerful, classic
Lexicon reverb algorithms: Chamber, Plate,
Inverse and Gate with 100 factory presets
designed for any recording task.
Each algorithm is displayed graphically in a
three-dimensional space, allowing easy control over reverb characteristics.
Low, mid and high frequency envelopes can
be altered in real time by tweaking up to
eight assignable faders.
There are also customizable macro controls
for assigning as many as four parameters to
a single fader. The Macro editor allows you
to group parameters together as well as
adjust how they scale with one another.
Several adjustable parameters reside within
each LexiVerb algorithm. These include
Bass, Diffusion (echo density), Delay, HF
Cutoff, Input, MidRT (time), PreDelay,
Regeneration (feedback), Size, Slope, Spin,
Spread and Wet/Dry mix settings.
The Spin setting is unique to LexiVerb. It
sets the randomization rate of the reverb
tail for a more natural sound without destabilizing the position of the instruments.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
High Quality, Multi-Band
Dynamics for Pro Tools TDM
Line 6 — AMP FARM
The ultimate solution for guitarists and Pro Tools TDM users, Amp Farm
features Line 6’s TubeTone technology, to bring you physical
models of specific, sought-after classic amplifiers. Process live
guitar inputs or tweak the amp setup for pre-recorded tracks.
Amp Farm lets you adjust your amp tone right up to the final
mix, with full automation of all controls, including Amp Model
selection. No special pickups are required —just record your
guitar output directly into Pro Tools and say goodbye to the hassles of working
with traditional amplifiers (the hauling, the buzzing, the special miking techniques, etc.)
Controls are simple and intuitive, making
Amp Farm extremely easy to use.
Your Amp Farm amp set-up can be
changed at any time, even after tracks are
recorded, with full automation. You can
even switch amps on the fly, and everything is stored right in your Pro Tools
session. A library of presets is also included.
Guitar Recording TDM Plug-In
Line 6’s TubeTone uses a 100% digital software technology to physically model the sonic
properties of tubes and emulate the tone generating circuitry of classic amplifiers—add a whole
collection of classic guitar amps to your studio — all programmable and automatable.
• 1959 Fender Bassman, 1965 Fender Twin, 1964 Fender Deluxe, 1964 Marshall JTM 45
• 1968 Marshall Plexi, 1990 Marshall JCM 800, 1960 Vox AC 30, 1963 Vox AC 30 with top-boost
• 1994 Mesa Boogie Dual Rectifier Trem-overb combo, 1995 Mesa Boogie Dual Rectifier head
• 1989 Soldano Super Lead Overdrive head, 1987 Soldano X88R Preamp, 1996 Matchless Chieftain
Line 6 — ECHO FARM
Vintage Echo TDM Plug-In
Line 6’s Amp Farm revolutionized the way guitar is recorded.
Now, the same patented modeling technology is available in
the Echo Farm TDM plug-in. Echo Farm brings the sound of
vintage echo effects units to your Pro Tools system—no need to
wrestle with cantankerous vintage hardware to get classic tape
echo, old school analog delay or filter-swept echo-phonic
modulations, Echo Farm perfectly emulates the sonic properties of tubes, tape, and vintage echo unit electronics.
Easy to use as a classic stomp box, with control of tape wow and flutter, filter-swept
modulation, bit resolution, and more
◆ Add
Just pull up Echo Farm to get these classic
vintage tones with all the modern advantages, including extended delay time,
bpm/note value delay time setting, tap
tempo and complete automation.
Set delay times by knob, milliseconds, or
bpm/note value — or just click your mouse
a few times on the tap tempo button.
Defeatable Time Ramp gives smooth tapestyle delay time changes complete with pitch
Use Echo Farm as a guitar stomp box in
front of Amp Farm, or as a processor for all
your other audio track
Echo Farm isn’t limited to just guitar processing. Put any audio signal through it —
vocals, synths, drum tracks— and add the
classic sound of vintage echo to your mix.
a whole collection of classic echo units
to your studio — all programmable and
Models based on the following effects units:
• Maestro EP-1 Tube and EP-3 Echoplex
• Roland RE-101 Space Echo
• Boss DM-2 Analog Delay
• Electro-Harmonix Deluxe Memoryman
• Dynamic Delay (ala TC Electronics 2290)
• Lo Res Delay (variable from 24 to 6 bits)
• Sweep Echo (filter-sweep delay)
• Digital Delay with Modulation, Ping Pong
• Reverse (xirdneH imiJ ekil tsuJ), and AutoVolume Echo.
Tired of dull sounding tracks? Want to breathe some funk into your mix? Well,
here's the perfect tool. Prosoniq’s Orange Vocoder offers perhaps the fastest,
most flexible and most transparent sounding simulation of an analog vocoder
effect. Following a long tradition of German Vocoder effects, the Orange
Vocoder is fully customizable and features an 8-voice virtual analog
synthesizer unit, Freeform EQ and Filterbank Reverb all controllable from
within one easy-to-use interface.
Graphical control over every
parameter, full use Pro Tools LE’s,
advanced automation capabilities, and
an attractive user interface
Integrated 8-voice virtual analog synthesizer with 2 oscillators per voice featuring
10 basic waveforms and 7 sampled
sounds. Voice detune, pitch LFO, 4-pole
Lowpass filter with cutoff and resonance,
oscillator hard sync, and ring modulator.
Fully customizable Freeform EQ with
max. 12 nodes, ranging from 20Hz to
20kHz and resolving ±30 dB FS
Input Channel Flip: instantly exchange carrier
and modulator signals without re-routing tracks.
Post-Vocoder Filterbank Reverb Effect with Mix,
Decay and Density
Integrated preset program switch for easy
parameter adjustment
Supports both RTAS sidechain routing and Pro Tools automation
Powerful Noise Reduction/Audio Restoration Plug-in Suite
Sonic Solutions’ Emmy Award-winning NoNOISE is the premier tool for
restoring audio recordings. Its advanced processes isolate and eliminate audio
artifacts such as hiss, scratches, hum, mechanical and impulsive noise, ambient and
background noise — while preserving the integrity of the original recording.
NoNOISE is not a single process or software module, but a set of powerful tools to
remove bothersome noise without damage to the program material. Use it to restore
old recordings, remove unwanted noises from field recordings, and repair audio
materials that have suffered damage. Since it’s introduction over 15 years ago, Sonic’s
NoNOISE technology has been used to restore hundreds of thousands of music, film,
video recordings, as well as forensic recordings used by intelligence and police
organizations around the world.
NoNOISE is comprised of a set of powerful
tools that address the full spectrum of noise
issues, as well as offering both automatic
and manual means of analysis and repair
without damage to program material.
Capabilities include frequency analysis, peak
distortion removal, broadband denoising,
click detection, production (automatic) and
manual declicking, and decrackling.
Ideal not only in the mastering and re-mastering stages of audio production, but also
for many other audio treatments needed to
restore, clean, or enhance recorded material.
A variety of high-resolution filters (also
implemented as TDM plug-ins) is included:
Presence, Notch, High and Low Shelf, High
and Low Pass, DC-Removal, Emphasis,
De-emphasis and RIAA/No RIAA.
While NoNOISE for Pro Tools does not
include all of the application features found
in the SonicStudio version, it is designed to
strike an ideal balance between the workflows of both experienced Pro Tools users
and SonicStudio users.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Real-time Vocoder effect for the RTAS
platform, uses either any input source/
audio track or the built in oscillator as
carrier signal, and any audio track as
Real-time Vocoder and Software
Synthesizer (RTAS)
Audio Alignment for Music and
Post Production (AudioSuite)
VocALign is an amazing tool which reduces the time taken to re-record
dialog or vocals —saving money by drastically reducing production and
studio time. Artists can now concentrate on performance and not sync
during overdubbing sessions. VocALign’s unique ability to align two signals
enables it to be used creatively to take guide or even “live” tracks and
create performances with perfectly aligned overdubs.
This AudioSuite plug-in gives Pro Tools users perfectly aligned double-tracked vocals, tight backing vocals, easy re-grooving of recorded
vocals for remixing and shorter overdub sessions. Users also have the ability to choose the best rhythm and pace for a specific vocal, or
even lay down the required tempo pattern for the artist. For postproduction, VocALign will automatically edit a line of replacement
dialog so that it aligns with the dialog recorded with the original film or video. The artist can concentrate on performance and the
result is perfectly lip-sync’d dialog, or more convincing foreign language dubs and reduced studio time re-recording the dialog.
Takes just seconds to automatically align two audio signals so that
the timing of one matches the other
Sophisticated pattern matching techniques reject guide track noise
and work with different speakers, singers, words, instruments and
User interface allows adjustment of selected audio regions for
processing, and the scrolling, scalable display allows visual
confirmation of sync
Artists can now concentrate on performance
and not sync during overdubbing sessions
◆ Align
a vocal or instrumental performance to a previous take
Re-create a “live” vocal’s timing in the overdub session
Tighten up backing singers with one another or with the lead
Tighten two instrumental performances
Lock double tracked vocals together
User-adjustable processing presets ensure optimal performance
Remixers: completely change the timing of a vocal performance
Pitch of aligned audio is unchanged
◆ ADR:
Lip-sync replacement dialog automatically
High Speed Tools for Efficient Audio Production
A stand-alone program that both captures audio from Pro Tools and returns it with single keystrokes, ToolBelt provides five
high-quality, non-real-time processes (Audio Generator, TimeMod, Power Looping, Reversing, Inverting) in a time-saving,
production-efficient interface. In fact, many of these processes and features are simply not available in any other products.
ToolBelt’s processes can be used separately or in combination. ToolBelt also
provides keystrokes for auditioning selected processes or changes to
signals before they are returned to Pro Tools.
Applications Include:
Sound Effects: Create altered sounds and atmosphere loops quickly and easily
Repair Work: Correct timing errors and channel inversion
Dialog Editing: Make lengths fit; make background fills quickly; create special vocal
Music Editing: Create precise musical loops and special effects; change tempos without
pitch change
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
ToolBelt’s unique Audio Generator can
automatically extend very short pieces of
atmospheric or back- ground sounds into
long, natural sounding regions without
sounding looped. It’s great for making fills
for dialog and effects editing.
Looping function provides graphical
displays and A/B pattern-making facilities
◆ Audio
TimeMod provides high-quality, mono
and stereo time compression / expansion
without pitch changes; maintains stereo
phase and musical rhythm
Stereo channels can be independently
playback from ToolBelt allows
input and output auditioning
Invert function (180° phase change)
Built-in macros for seamless integration
with Pro Tools
Intuitive interface and simple operation
Processed audio can be placed back,
sample-accurate, on any session track
Compatible with 8, 16 and 24-bit audio
The Essential Aid
for Conforming Soundracks
TITAN is a must-have application designed for Pro Tools editors involved in
audio post-production for film or video, who spend long hours manually
making sync adjustments after conforming or processing audio, or have to
recut and rename regions in continuous audio tracks that have been transferred into a Pro Tools session from another system.
TITAN is a multi-function program that creates new Pro Tools sessions in a
fraction of the time normally required. This powerful application aids and
speeds up the autoconforming process, creates sessions from EDL-based
change lists, automatically performing many of the tedious and repetitive
tasks normally associated with the conforming of audio.
TITAN is a stand-alone application that provides separate functions for processing a Pro Tools session file. An efficient user interface provides
easy access to functions, track selection and processing options. The Flash Conform function instantly conforms soundtracks from an EDL and
pre-loaded soundfiles, and can conform or reconform entire sessions in seconds— a big time saver
Fix Sync Function
Flash Cutter Function
The Fix Sync function automatically corrects the position of audio that
is out of sync by up to ±1.3 second to sample level accuracy. Similarly, it
can correct the sync of audio that has passed through signal processing
devices and has been delayed by unknown amounts. TITAN virtually
eliminates the need to adjust sync manually while listening for phasing
or visually comparing waveforms with a worktrack.
Flash Cutter eliminates the need to manually recut and rename edits
in situations when tape is used to transfer audio from any editing
system to a Pro Tools system and an OMF transfer is not a practical
option. Once the audio on tape has been transferred into
continuous tracks in a Pro Tools session, Flash Cutter uses a
standard EDL from the first editing system to recreate and name
the audio regions automatically.
• Can process 400 to 500 regions in a session in ten minutes. Manually,
the same job could take up to a day
• Stereo regions are adjusted together to keep phase relationships intact
• Automatically cuts and names hundreds of regions in seconds
• Display shows size and number of sync errors
• Regions, sessions, and tracks automatically named with userselected information from EDL
• Autonaming of processed sessions, tracks, and regions
• Handle adjustments allow extending edits if required
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Tape Saturation and Tape
Emulation for TDM Systems
Now, in one bundle, you can get analog tape and real-valve
sound, with their classic warmth, within the digital domain,
and with characteristics and control impossible to achieve in
conventional tape recorders or valve systems.
DaD Valve is a revolutionary approach to the simulation of the
classical valve sound for digital audio systems. It features the most popular types
of valves — triode, tetrode, and pentode — with a full range of biasing and
operating levels. It features optimized responses for the 38 most common families
of acoustic and electronic musical instruments. Also suitable for the processing of
any kind of sound: music, effects and voices.
DaD Tape is a revolutionary approach to the simulation of the analog tape sound for digital audio systems. It features physical
modeling of the four most representative tape recorders on the market: an old vintage machine with valve circuitry, a transistor
based machine of the late 60’s, an operational-amplifier based machine of the 70’s and a machine of the latest generation. It also
offers simulation of the three most common noise reduction systems, plus a proprietary noiseless-tape mode. Ideal for music, film
soundtracks, audio post-production, mastering, broadcast and multimedia.
DaD Tape
DaD Valve
Especially suitable for percussive sounds, mastering of complete
Round off peak transients and add warmth to electronic and
acoustic instruments, either individually or by sections or sub-mixes.
Independent input/output sliders and meter
Switchable tape speed (7-1/2 /15/30 ips) for maximum control—
even permits unusual combinations of tape recorders and speeds.
User adjustable operating level
Easy and intuitive user interface
Proprietary system based on physical modeling providing absolute
and independent control over both spectral and dynamic responses,
with a total of 1600 different configurations—Ideal for voices and
sound effects, mastering of complete mixes
Easy and intuitive user interface, easily updateable and expandable
High signal to noise ratio due to high-quality internal resolution
Processing of all kind of electronic and acoustic instruments, either
individually or by sections or sub-mixes
Suitable for all styles. It adds even harmonics to cold electronic
sounds and restores the lost warmth to acoustic instruments
The Final Touch for RTAS-based Studios
The perfect solution for any M-Box or Digi001 user, the EverPack includes five
excellent plug-ins for RTAS and Audiosuite: DUY Z-Room reverb, DaD Valve,
DUY Shape, DUY Wide and Max DUY.
(The same as above except that it is compatible with RTAS, DUY DaD Valve is the
valve emulation that gives you total control over the dynamic and spectral response
of 1600 modeled combinations of sounds, introducing the typical non-linearities of
tubes, and enabling you to warm up any of your sounds.)
AT 349 W. 34th STREET (with purchase of $100 or more)
DUY Shape
– Eight different Shaper curve
types including Linear, Log
and Cosine functions.
Adjustable 3-band smooth
filter with full audio range
continuous crossover points
– Linear expand function to
optimize dynamics
High quality analog sound
filters using modeling
Three independent userdefined Shapers with virtually
infinite resolution and
accuracy. Each shaper has:
set of 5 factory presets for
typical applications
Simultaneous input and
output plasma-style meters
Mix switch for Low, Mid, Hi
Shape or all (default) which
allows easy independent
Maximum resolution peak
level meters with hold and
shift function.
High signal to noise ratio due
to an internal resolution of 48
Sound level optimization for
music, film soundtracks,
broadcast and multimedia.
Suitable for the processing of
any kind of sound: music,
musical instruments, voices or
effects, for both individual
tracks and final mixes.
CD mastering
DUY Z-Room
DUY Wide
Spatial enhancing and widening of stereo image.
Sound placement outside of physical stereo speaker locations.
◆ Individual per channel phase inverter
◆ Mono compatible.
◆ Doesn’t add unwanted color to the signal
◆ Range of effect from subtle to dramatic
◆ High signal to noise ratio due to an internal resolution of 48 bits.
◆ Spatial enhancing of existing mixes, both independent stereo tracks
and final mixes.
◆ Remastering, rebalancing and spatial enhancing of stereo and multichannel mixes.
◆ Complex spatial processing of pairs of channels in multichannel
Z-Room is a high-quality reverb, it features excellent density and
diffusion that provide an unparalleled sound quality. DUY Shape is a
sound enhancer featuring 3-band smooth filters with full audio range
continuous crossover points and three independent user-defined
shapers with virtually infinite resolution accuracy. DUY Wide is a
stereo and multichannel spatial enhancer, which allows widening of
the stereo image, as well as sound placement outside the physical
speaker locations. DUY Wide is mono-compatible. Max DUY is a
sound level maximizer based on DUY’s exclusive ILO algorithm,
featuring seamless level maximizing, zero harmonic distortion even at
low frequencies, and release-free operation.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
FDWS (Frequency Dependent
WaveShaping) algorithm processing
Exclusive ILO (Intelligent
Level Optimization) algorithm
- Seamless level maximizing.
- Zero harmonic distortion even
at low frequencies.
- Unnecessary level scaling and
limiting thus improving signal
to noise ratio
- Release free operation avoiding
unwanted pumping effect.
- Overall improvement in signal
to noise ratio.
◆ Easy and intuitive user
Perfect for defining
individual sounds
of mastering entire
mixes.Suitable for
processing of any
kind of sound:
music, musical
instruments, voices
or effects. Processing
of independent tracks or mastering of final mixes. Processing
possibilities include dynamic enhancing, smooth equalizing,
waveshaping compression, frequency enhancing, sound “revitalizer”
for old mixes, user defined harmonic redistribution.
"The Plug-in Creator"
DSPider is a modular plug-in creator for TDM that consists of 40 modules that can be linked by the user in
countless different ways, providing a unique and revolutionary approach to the creation of user-defined processors. DSPider allows the development of virtually any
type of existing processing device, and provides a preset
library with over 220 loadable and modifiable presets
such as compressors, reverbs, equalizers, limiters, synths,
noise reduction systems, 3D effects, de-essers, sound effects
generators, etc. Applications include the whole spectrum
of the audio world: post-production, music, broadcast,
mastering, multimedia, education, research, etc.
DSPider allows users to “build” their own plug-ins. As a result, a
huge range of unique and exciting effects and processors can be
created with just one plug-in.
Instant assistance is provided by help balloons and “talking help”.
Electronic instructions for patches enable easy and intuitive use.
3rd party developers can create or modify patches, allowing the
development of virtually any type of existing processing device,
including those that don’t currently exist in the marketplace. This
makes possible the creation of a vast range of unique proprietary
processors and signature sounds. A “Locked Patch” option allows
developers to maintain the secrecy of their algorithms.
Advanced Mode provides a large working surface and enables you
to edit and run patches, whereas the Reader Mode has a reduced
screen and is designed especially for users to run patches.
Patch Manager lets users switch between patches automatically,
allowing the optimization of DSP resources and a previously
unavailable degree of control and flexibility.
The Modules:
DSPider´s 40-module list ranges from simple operators such as addition,
subtraction, multiplication, shift, etc., to multi-functional modules like
filters, oscillators, waveshapers, filters, multiple delays, envelope followers,
pitch trackers, ramp generators, sample-and-hold, spectral shapers, etc. A
flexible multi-reflexion chamber and multiple delay modules allow the
creation of complex user-defined reverbs. By providing modules previously
only available in modular synthesizers, DSPider permits exclusive
processing capabilities and the creation of entirely new audio processors.
Graphic modules like sliders, numeric readouts, plasma meter readers,
scopes, etc., allow the creation of complex graphics. All modules can be
easily programmed and patched with a simple “drag and drop” procedure.
Plug-in Library for TDM
Based on the great success of DSPider, DUY’s ReDSPider is
the first plug-in library for the Digidesign TDM Bus.
ReDSPider features over 220 plug-ins which include
compressors, limiters, reverbs, noise gates, expanders,
equalizers, 3D effects, synth sounds, sound enhancers,
de-noisers and many more. You don’t need DSPider to use
ReDSPider! Supports sample rates up to 96 kHz
Creating Sounds and FX
A modular TDM synthesizer software, SynthSpider links the 40 supplied
modules, allowing you to create your own sounds and sequences. The high
quality of DUY’s algorithms is reflected in the power of the modules, which
include filters, envelope followers, wave generators, and even a built-in
analog-like sequencer, plus a “scanwave generator” that allows you to use
external audio. Unlike other TDM synthesizers, SynthSpider’s modularity
makes it the most versatile tool of its kind. MIDI-compatible, SynthSpider
includes the most powerful tools to make your sounds be totally unique.
The perfect tool for sound designers, composers or sound effects creators,
SynthSpider’s applications include the whole spectrum of the audio world:
post-production, music, broadcast, multimedia, education, research, etc.
The “Locked Patch” option allows
developers to maintain the secrecy of their
Users can create or modify presets,
allowing the development of virtually any
type of sound, that doesn’t currently exist
in the marketplace. This makes possible
the creation of a vast range of unique
proprietary sounds.
The Advanced Mode provides a large
working surface and enables you to edit
and run patches, whereas the Reader
Mode has a reduced screen and is designed
especially for users to run presets.
The exclusive Patch Manager feature
provides users the possibility to switch
between presets automatically, allowing the
optimization of DSP resources and a
previously unavailable degree of control
and flexibility.
Instant assistance is provided by help
balloons and “talking help”. Electronic
instructions for patches enable easy and
intuitive use.
The Perfect Software Package for any TDM Studio
DUY’s Global Bundle contains six high-quality TDM plug-ins that will become
the best solution for your ProTools-based studio:
DaD Valve & Tape (“DUY Analog
Bundle”): analog tube and tape
saturation and compression emulation
DUY ReDSPider: a package of over
200 different TDM plug-ins including
compressors, reverbs, EQs, special
effects and distortion.
DUY Shape: an adjustable 3-band
waveshaper that will become the only
tool you will ever want to use for
high-precision sound definition. You
can modify the curves to achieve
expansion/compression of the signal
levels. Perfect for defining individual
sounds of mastering entire mixes.
Max DUY: Sound level maximizer,
featuring DUY’s exclusive ILO algorithm for the optimization of the level
of the signal, the ease of use combines
with the sound quality. Max DUY can
also be used as a limiter.
DUY Wide: Spatial stereo enhancer. Features frequency compensation and includes a high
resolution phase meter
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large library of presets is provided with
SynthSpider. A “normal” synthesizer would
just include variations of an identical setup,
but due to the modularity of SynthSpider,
all these presets have a different internal
structure and open a whole range of
possibilities for the user, who can modify
any of the given presets and save them as
Music Production Software For The Mac
Emagic’s Logic 6 Series consists of a choice of three levels of digital audio and MIDI
production software applications for the Mac OS— Logic Audio, Logic Gold and
Logic Platinum. Each version of Logic has a virtually identical feature set combining
support for high resolution 24-bit / 96kHz audio files (192kHz with Logic Platinum),
and unlimited MIDI tracks along with a plethora of virtual plug-in effects and
instruments along with powerful sample-accurate automation capabilities of
just about every parameter. All versions include a myriad of editing capabilities
for audio and MIDI as well as scoring. Support for a wide range of third party
hardware and plug-ins as well as Logic’s own plug-ins are just part of Emagic’s
commitment to providing their customers with cutting edge production tools.
Logic Audio allows you work with up to 48 stereo or mono audio tracks, Logic
Audio Gold provides 64 stereo or mono audio tracks and Logic Audio Platinum
5 provides 96 stereo or mono audio tracks. Whether you’re a beginner, project
studio or professional, there’s a version of Logic with the right feature set and
functionality to suit your needs.
They All Feature
Optimized for Apple’s G4 Velocity Engine
including dual processor models.
◆ Virtually
960 ppqn timing resolution (1/3840 Note)
Tempo resolution accurate to 1/10,000
bpm from 0.05 to 9,999 bpm
Non-destructive, realtime quantization,
transposition, velocity, track delay, gating and
Multiple undo/redo
Multiple MIDI editing environments: Matrix
Editor, Event List, Hyper Editor, Score Editor
and Transform Window
Ultra-precise MIDI timing using Emagic’s
AMT8 and Unitor8 MIDI interfaces
OMS, MTP (OS9) & CoreMIDI (OSX) support
Ultra-precise 32-bit internal processing
with support for 16 and 24-bit audio files
up to a sample rate of 96kHz (192kHz with
Logic Platinum)
Support for MacAV, ASIO, Direct I/O, and
Audiowerk under OS 9.x and Core Audio
under OSX.
The built-in Sample editor allows sample
accurate non-destructive and DSP-based
editing of mono and stereo audio files
Entire mixes complete including live
inputs, effects and automation can be
bounced to disk in realtime
The transparent POW-r dithering process
assures that high resolution recordings
retain their true sonic character even at
16Bit/44.1kHz CD resolution.
Hardware independent audio scrubbing
Hardware independent realtime samplerate conversion.
unlimited MIDI tracks
wide range of synchronization options
including MTC, MMC and SMPTE ensures
that Logic connects easily to both the digital
and analog worlds
Effects and Virtual Synths
Logic Control Support
Screensets and Key Commands
Instantly switch between 90 screensets,
containing customized window configurations
including window size, position and zoom
settings, using your computer’s keyboard
numeric keypad you are able to
◆ The most important program functions and
navigational macros can be quickly accessed
by 100s of user-definable Key Commands and
MIDI commands
Includes a wide variety of high end effect
plug-ins as well as three soft synths
Support is provided for Emagic’s line of
virtual instruments as well as third party
VST2.0 plugins and virtual instruments
under OS9 and Audio Units under OSX
Track-based, sample-accurate automation is
provided, with 32 Bit data resolution, for
virtually every parameter including effect
plug-ins and Audio Instruments
Track-based Automation
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Logic Control is a hardware control surface,
co-designed by Emagic and Mackie Designs,
that offers complete hands-on control over
hundreds of MIDI and audio functions,
including Logic’s 32-Bit track automation
Provides extensive control and customization
of your external MIDI set-up, audio routing,
mixing and real-time effects
◆ Assign Logic’s software-based processing
devices (faders, arpeggiators, delays and
more) to create unique controllers for your
MIDI gear and audio tracks.
◆ Create a different environment for your MIDI
instruments, audio tracks, audio instruments,
etc... and store a Screenset for each one
Arrange Window – Logic’s Primary Workspace with an Emphasis on Realtime Composition
Track Information
Track number, Mute and
Record buttons Track icon and
name Current automation
parameter, meter and mode
Markers allow you to
quickly “jump” to any
location in your songs
Zoom in and out of the
Arrange window (horizontally and vertically)
using the telescope tools
Individual Sequence parameters
include realtime non-destructive
control over quantization, transposition, velocity, dynamics
(velocity compression), gate
time, delay (by note value or
ms.) as well as loop on and off
Color-coded automation data is
displayed directly in the
Arrange window as envelopes
with break points that can be
freely drawn, edited and scaled
The Tool Palette includes a
pointer, pencil, eraser, scissor,
glue, crossfade and other tools
for editing audio regions and
MIDI sequences – hit your
keyboard’s esc key and the
Tool Palette will appear at
your cursor position
Automation curves are freely
adjustable between convex,
concave, s-form or linear shapes
MIDI sequences and audio
regions can be recorded,
arranged and edited in a
virtually identical fashion.
Audio and MIDI objects can all
be individually resized, soloed,
muted, looped and mixed in the
Arrange window - all in realtime and without stopping the
sequencer or your creativity
Mono, interleaved stereo and split (L/R)
stereo audio files can be recorded,
imported and exported using Sound
Designer II, Aiff and Wave file formats
REX2 (recycle) files can be imported
into the arrange window and in the
optional EXS24 mk2 software sampler
The audio output of ReWire compatible
software instruments, such as
Propellerhead’s Rebirth and Reason, can
be streamed into Logic's mixer where
they have full access to Logic's extensive
array of effects and mixing facilities.
Built-in Quicktime movie support
allows you to efficiently view and synchronize video within your project. An
ideal for scoring to picture without the
need to synchronize to an external VTR.
Each editing window features a
Catch and Link button that when
activated allow multiple windows to
interactively follow the currently
active window’s event selection as
well as any movement along the
timeline – Notice that the bass
region selected in the arrange window is also highlighted in the Audio
and Event List windows
Access up to 90 customized Screensets
like this one with a single keystroke
Audio Window
Audio files and their associated
audio regions, recorded (or
imported) into your session, are
automatically listed in the Audio
window where they are easily
organized. Audio files and regions
can be auditioned here and then
dragged onto the desired track in
the arrange window. Double clicking on an audio file or region will
launch the selection in Logic’s
built-in Sample Editor
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Because automation is trackbased, it can be copied and
moved independently of their
associated MIDI sequences and
audio regions
Track Parameters
Track name, icon, device (audio
driver) or port (MIDI), MIDI
Channel and more..
File Formats and
Click and drag your mouse from left to
right along the timeline to select the
desired bars for cycle record/playback
Transport controls
Cycle record/playback
Punch in/out recording
Track solo
Metronome and Sync options
Tempo and time signature
Adaptive Track Mixer
The Adaptive Track Mixer reflects the track layout of audio and MIDI channels shown in the Arrange window.
Effects inserts and effect
sends are available for
each input and output
object, audio track and
audio instrument channel
Channel EQ (up to
4 bands with Logic
Audio and 8 bands
with Gold and
Platinum) is
provided for each
Choose the types of
mixer objects you want
to see – MIDI, Input,
Track, Instrument,
Aux, Bus and Output
Easily assign inputs
and outputs
Select whether a
channel is mono or
stereo and arm
input audio tracks
for recording
All mixer channel
and plug-in parameter
movements can easily be
recorded using the
following automation
modes – Write, Touch
and Latch and then
reproduced using Read
mode. Automation can
be graphically edited in
the Arrange window.
Channel fader,
pan, mute
and solo
controls with
Customizable Audio Objects
◆ Audio
Track Objects are used for
record and playback of audio files.
◆ Audio
Input Objects allow you to
monitor live audio inputs with
effects. Logic Gold and Platinum
add the ability of pre-processing
(recording) Input Objects with
◆ Audio
Bus objects (mono/stereo) are
available for use as effects returns
and for creating sub mix groups.
◆ Aux
Input Objects (mono/stereo)
are available for creating multiple
outputs for virtual instruments
and for adding functionality to
the busses.
The master output object
features a Bounce to disk
button that allows you to
bounce any number of tracks,
even an entire mix, including
any automation and effects to a
mono or stereo (single or split
left and right) audio file.
Instrument objects can be created for accessing virtual instruments.
POW-r Word Length Reduction
POW-r is a high-end dithering algorithm designed by the
POW-r consortium — a team of digital audio designers
who come together to create one of the audio industry's
most transparent and dynamically stable methods of Word
Length Reduction.
POW-r #1: uses a special dithering curve to minimize
quantization noise.
POW-r #2: (Noise Shaping): uses additional noise shaping
over a wide frequency range which can extend the dynamic
range by 5-10 dB.
POW-r #3: (Noise Shaping): uses additional, optimized
noise shaping which can extend the dynamic range by 20
dB within the 2-4kHz range - the range the human ear is
most sensitive to.
Support of More Audio Formats (OS X only)
Logic 6 can import
and export MP3
files. In addition,
QuickTime audio
formats can be
imported and
exported including:
AAC, Qdesign Music
2, Qualcomm
PureVoice, Law,
Alaw and IMA
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Fully Automated Plug-in Effects System
Dozens of effects plug-ins are included
covering a wide range of precision and
creative processing tools from the standard
dynamics, reverbs, delays and EQs, to
unique sound sculpting tools and
mastering processors
◆ All
plug-ins operate at 32-Bit resolution,
and support sample rates from 11kHz to
200kHz, ensuring outstanding audio
quality and making signal overloads
virtually impossible
Third party support is also provided for
VST/VST2 (OS9 only) and Audio Units
under OSX
Plug-ins can be accessed in a number of
ways including: Inserted directly on to live
input channels; audio playback tracks; or
virtual audio instruments; they can also be
inserted on busses and aux channels and
accessed via direct channel routing or via
channel sends
Virtual Audio Instruments
Soft synths and samplers including Emagic’s
optional ES1, ES2, EXS24, EVP88, EVD6 and
EVB3 can be inserted into Audio Instrument
channels and seamlessly integrated into
Logic's mixer with access to effects and
Third party support is provided for VST2
under 09 instruments and Audio Units
under OSX
◆ Playback timing for all audio instruments is
sample accurate
Logic Audio supports up to 16 audio instruments, Logic Audio Gold supports up to 32
and Logic Audio Platinum supports up to 64
Multiple Outputs for virtual instruments is
also supported
The Plug-In I/O (Platinum only) allows
you to insert the signals of an external
processor into any audio object channel. A
pop-up menu provides access to the I/O
available in your audio hardware.
Effects can be assigned to live input
channels for monitoring purposes or for
Integrated Synthesizers
Logic 5 incorporates three powerful
subtractive analog software synths as standard – The ES M monophonic bass synthesizer, the ES P for the creation of polyphonic
sounds and the ES E for ensemble sounds
3.0 Reverb
Fat EQ
Hi and Low Shelving
Silver EQ
Hi and Low Cut Filter
Hi and Low Pass Filter
Stereo Delay
Sample Delay
Tape Delay
Silver Compressor
Silver Gate
Noise Gate
Adaptive Limiter
Clip Distortion
Phase Distortion
Modulation Effects:
Modulation Delay
Native I/O Insert
Pitch ShifterII
Spectral Gate
Direction Mixer
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Sidechain Inputs (Gold and Platinum only)
— Audio tracks, inputs and busses can be
used as sidechain sources for sidechain
capable plug-ins and audio instruments.
For example, this allows the optional
EVOC20 vocoder to process live audio
inputs via the sidechain input
The Matrix Editor
is a piano roll style
editor that offers an
intuitive approach
to editing the pitch,
placement and
duration of MIDI
events using a vertical piano keyboard
and horizontal
timeline axis
The velocity of each MIDI note is represented by the intensity of the events color (blue = 0, red = 127). A velocity
tool allows you to adjust the velocity of selected notes.
MIDI Editor Windows
Logic’s linked editors provide the power to fine-tune your music at any level. View a composition in its entirety or select and make changes to
the smallest detail with the Matrix, Event List, Score or Hyper Editors.
A filter allows
you to choose
the specific type
of data you
would like to
The Event List Editor
can be used to view and
edit the position, track
and length of sequences
and audio regions in
the arrange window as
well as let you view and
edit individual events
(notes, controller data,
pitch bend, program
change) within MIDI
Use Hyper draw to
automate MIDI
controller data
The Score Editor is a MIDI
editor that displays
traditional music notation.
It also provides layout
functions which make it
possible to create
professional score printouts
quickly and easily.
The Hyper Editor is the ideal Step Sequencer. You can insert and edit note and controller data quickly and
easily using only a few simple tools. Event values are represented by vertical bars. Use the pencil tool to
insert single events such as program changes or draw sweeping curves to control filter cutoff etc..
Sample Editor
The Sample Editor
provides a wide range
of sample accurate
waveform editing
capabilities from creating
regions to performing
DSP functions including
Normalize, Trim,
Silence, Reverse, Fade In/Out, Remove DC Offset, Time compression/
expansion and formant corrected pitch shifting using Time Factory II and
much more.
The enhanced TimeMachine II time compression and expansion, available
in Logic Gold and Platinum, provides five algorithms designed to work
with specific source material – Monophonic, Pads, Beats, Version 5 and the
default Any Material.
DSP Optimization Technology
Native support is provided for the latest
Apple G4 Velocity Engine-equipped computers including multi-processor models.
In some cases, these optimizations can
increase the total number of tracks, effects
and audio instruments that are available
for simultaneous use.
DOT can effectively double the amount of
available CPU power, when DOT optimized plug-in modules are used in Logic.
A number of Logic plug-ins are specifically
optimized for the latest G4 processors.
Rock Solid MIDI Timing and
Synchronization with AMT
(Active MID Transmission)
XSKey Expandable System
Key – Copy Protection System
This programmable hardware
key for the USB port
includes the license for
Logic 5, and temporary licenses for all
Emagic software
Following the initial launch of Logic 5,
you can try out all Emagic software
instruments for a period of one month
without any functional restrictions.
16 / 16
64 / 64
Import only
Import only
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The Logic Series incorporates a proprietary
Emagic technology called AMT (Active MIDI
Transmission). Using Emagic’s Unitor8 or
AMT8 MIDI interfaces with Logic ensures
that MIDI timing is precise across all ports,
even in the largest of MIDI systems. Literally
hundreds of MIDI ports can be addressed,
with MIDI data arriving simultaneously at
each, no matter how dense the MIDI
arrangement. If you need to synchronize
with external sources, the entire Logic Series
will send and receive MIDI Clock, MTC,
MMC and word clock signals, making it ideal
for film, TV and post-production facilities.
Logic Audio
Audio Files and Processing:
Highest Supported Bit Depth / Sample Rate
Ultra-precise 32 Bit internal processing
Export/Import Region Time Stamps
Realtime Variable Pitch
Software Sample Rate Conversion
Arrange Window:
Nondestructive Audio Editing
Nondestructive Crossfades
Variable fade curves for crosssfades
Time Stretching In Arrange
Arrange Punch on the Fly
Max Number:
Playback Tracks (single audio hardware)
Playback Tracks (multiple audio hardware)
Inserts per Track
Busses / Aux Channels
Audio Instruments
Multiple Outputs for Audio Instruments
Max. Simultaneous I/O
Number Of Included Plug-Ins
Multiple Undo/Redo Steps
Undo/Redo History
Definable Key Commands
Side Chain for Plug-Ins
Hardware Support:
ASIO Support (OS 9)
Core Audio (OS X)
Digidesign Direct I/O (OS 9)
ProTools TDM (OS 9)
Logic Control Support
Mixing and Automation:
32-bit Sample Accurate, Track-based Automation
Freely Adjustable Automation Curves
Adaptive Track Mixer for Audio & MIDI tracks
Software Monitoring
Audio Input Objects monitoring with effects
Pre-processing (recording) with effects
Bus and Input Objects as sidechain inputs
Copy complete mixer configurations and their settings
Route track to bus / Route bus to bus
Tracks as side chain input source
Surround (including TDM systems)
ReWire / Rewire2 support
Track / Offline Bouncing with effects
High-end POW-r dithering Algorithm
File Support:
MP3 import/export/convert (OS X only)
REX2 File Support
OMF (Avid/ProTools) import/export
Open TL import/export
*Requires PTHD extension
Emagic has released version 6 of the Logic Series. This update provides a new level of processor efficiency and extensive
enhancements to the Arrange window that offers more editing and mixing power than ever before. In addition, Logic 6
debuts two new setup and file management solutions — the Setup Assistant and the Project Manager. Users will also benefit
from an improved feature set for film scoring, a newly-developed superior sounding EQ and MP3 import/export functionality. Further optimization of the automation system round out this update.
Logic 6 Arrange and Adaptive Track Mixer Window Features
The “Freeze” button is a CPU resource
maximizing feature available to all
audio and audio instrument tracks.
Activating the “Freeze” button
automatically creates an offline bounce
of an audio or audio instrument track
and disables any of the plug-ins
associated with that track. The
unprocessed track is then replaced
with the processed (or bounced) track
thus freeing-up potentially very large
amounts of CPU-power which can be
used for other purposes. Tracks can be
unfrozen at any time for further editing.
Sample accurate display
resolution in the Arrange
The Marquee Tool is an arrange window tool
that allows region and sequence-independent
selection and editing of data.
The Video Thumbnail track (Logic Platinum
only) displays single frames of QuickTime
video, horizontally in the Arrange Window.
The higher the zoom resolution, the higher
the number of thumbnails will be displayed.
A DV-formatted QuickTime movie can be
output via FireWire to a standard DV
camera or FireWire conversion box allowing
you to view the video on a standard TV or
video monitor.
(Logic Platinum only) Each channel can now
be assigned to one or more of 32 available
Groups. Each group can be a mix group, an
edit group, or both. This feature improves
Logic Platinum's fundamental automation
engine while at the same time accelerates
workflow and affords users improved live
editing possibilities. Such as, improved vocal
editing, assigning level meters to a group, or
muting drum sets.
Arrange window Icons.
Logic 6 also supports Time
Stretching directly in the Arrange
window. This allows the length of
an audio file or a loop to be
quickly adapted to the chosen bar.
The Offline Bounce feature allows users to
bounce tracks faster than real-time or to
bounce songs that would otherwise cause
system overloads.
The Arrange Channel Strip
You can view and edit a tracks channel strip from within the
Arrange window. Selecting the desired track in the Arrange
window will display the corresponding channel strip in the
parameter section. This allows you to edit and mix a track without
ever leaving the Arrange window.
Expanded Control
Surface Support
The Channel EQ
The Channel EQ is an intuitive
8-band EQ (4-band in Logic
Audio) with fixed modes: a
highpass filter, a low shelving
EQ, four parametric EQ bands,
a high shelving EQ and a
lowpass filter. Each band is
fully parametric. Each channel
EQ has an optional “high resolution analyzer” graphic display
mode that can be applied pre/post the EQ allowing you to analyze
the signal before and after the EQ.
Logic 6 can be controlled by the following
third-party hardware controller units: CM
Automation Motormix, Mackie HUI and
Baby HUI, Radikal Technologies SAC-2k and
SAC 2.2, Yamaha DM2000, 02R96 and
01V96. These hardware controllers can be
used in combination with each other or as
part of an expandable Logic Control and
Logic Control XT system.
Quick Automation Access
Improved Time Machine
The Time Machine in Logic 6 features a new algorithm that provides
enhanced sound quality and more accurate time stretching and pitch
Intelligent Project Manager
◆ The Project Manager consolidates all media files on local volumes
by recognizing the dependencies between audio files, sampler
instruments, settings and movies.
◆ The Project Manager allows you to rename files, add or edit
comments and change references to one, or multiple song files.
The Setup Assistant (OSX Only)
tool which can be accessed directly from the arrange window.
The Setup Assistant Starting
allows the initial setup of
Logic to be quicker and
easier than ever.
Surround Sound
◆ Surround mixing is available in any of 12 formats (up to 7.1) for
The Setup Assistant is an
unique tool that guides
users step-by-step — even
the extreme novice —
through the process of setting up and configuring Logic. In a simple and interactive Q & A session
users learn how to easily create preferences, configure key settings and create their first template song in Logic.
Save As Project
All media files can be saved in a new “project” file format, making archiving
and transport of projects created in Logic both efficient and easy.
audio channels, busses and instruments. Individual formats can be
assigned for each track, bus or instrument.
◆ Import and export of OMF (Avid / ProTools) files
Multiple Undo with History
◆ Easy to use multiple undo/redo system with a user definable
number of maximum undo/redo steps
◆ The undo/redo history window gives access to a complete script of
the song’s evolutionary progress, allowing any step to be selected,
and all steps up to that point to be reconstructed. This history can
be stored, and reactivated the next time the song is launched.
Added Functionality For ProTools Users
The Emagic PTHD Extension connects Logic
Platinum and Pro Tools HD hardware to form
a uniquely powerful system, providing not
only superlative audio quality and generous
I/O capabilities, but also – via Digidesign’s
TDM II – access to an ever-increasing number
of exciting DSP plug-ins.
◆ Enables Pro Tools HD audio hardware to
run together with Logic Platinum 5.1.3 or
higher on Mac OS 9.x
◆ Supports up to 128 tracks, 24Bit/192kHz,
Host TDM
Provides a link between your TDM system, and
your computer’s previously unexploited native
CPU processing resources.
◆ Allows you to insert ES1, ES2, EVP88, EVB3
◆ Allows Logic’s native audio engine to be
◆ Software instruments, using your comput-
routed into the TDM mixer. This enables all
Logic tracks, native and VST plug-ins,
including Audio Instruments, to be used in
conjunction with your TDM system DSPs.
◆ ESB TDM also enhances the functionality of
the EXS24 by allowing it to be inserted into
the Aux channels of Logic Platinum’s TDM
and EVD6 in TDM Aux channels under any
TDM/HTDM host software
er’s CPU, can be processed directly with any
of your TDM plug-ins.
◆ Can be used with Logic Platinum, Motu
Digital Performer or Digidesign Pro Tools
Software (running on Pro Tools 24 MIX, Pro
Tools MIX or ProTools HD systems).
◆ Supports up to 32 channels (16 stereo
channels) with sample rates up to 192 kHz.
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◆ Extensive search facilities further enhance the usefulness of this
The integrated One Fader Automation facility allows the selected automation parameter to be controlled by any controller such as a Mod Wheel.
Emagic Xtreme Sampler 24-bit
The ESX-24MKII is professional 64-voice software sampler whose integration into
Logic’s mixing, sequencing and sample editing environments makes it an essential
component for all Logic users. The ESX-24MKII provides sample-accurate
playback timing, stunning audio quality up to 24-bit/96kHz and is fully accessible
to all of the effects and automation capabilities available within your version of
Logic. The EXS24MKII’s Instrument Editor provides an ergonomic user interface
that allows you to quickly and easily assign and edit individual samples for
designing simple single sample instrument or complex multi-sample, multi-layered
sample instrument. The advanced synthesis engine features an awesome sounding
multimode filter section, fast envelopes and three tempo-syncable LFOs as well as
an extensive range of modulation routing possibilities.
Multiple instances of EXS 24, each with up to
64 simultaneous voices, are supported within
each version of Logic at extremely low
processor loads.
◆ Assign samples to up to 5 stereo pairs and 6
individual mono outputs per instance of the
◆ The amount of available sample time is
limited only to the amount of available RAM
in your computer or by available hard disk
space when using VSM (Virtual Sample
◆ User-defined hierarchical menu structure and
intelligent Sample Instrument search facility
with naming filter.
Perfect Integration
With Logic
Each EXS-24 instance is loaded as an
Audio Instrument in Logic’s 32-bit
internal mixer where it has full access to
all effects plug-ins and automation
Individual samples can be launched
directly into Logic’s Sample Editor for
fine tuning sample and loop start and end
points and for applying DSP processing.
◆ All
Sample Instruments and their settings
are automatically saved and loaded with
your song.
Sample Format
Reads AIFF, WAV and SDII in 8 to 24
Bit depths and up to 96 kHz
Converts AKAI S1000/S3000,
SampleCell and SoundFont2 as well as
Gigasampler format samples and
Import ReCycled (.REX) files
The imported samples can be in any bit
resolution from 8 to 24 Bits
CD ROM with over 500MB of high
quality sounds will be shipped to you
after registering
The Instrument Editor uses Zones and Groups to control the playback characteristics of individual samples contained in a Sample Instrument. You
can add as many Zones and Groups as you like to create anything from a single sample played across the entire keyboard to dense, multi-layered
constructions comprised of numerous individual samples.
Each sample in a Sampler Instrument is loaded into its
own Zone where you can define many of that sample’s
playback properties.
– Key Note as well as upper and lower key range (zone)
– Assign the Zone to a Group if desired
– Minimum and maximum Velocity ranges
– Volume and pan as well as a Scale function which
balances the levels between the lower and higher notes
in the keyboard range.
– Non-destructive reverse playback
– Sample tune/fine tune and pitch disable
– Sample start and end points as well as loop start and
end points with fine tune and auto crossfade adjust.
– One Shot parameter plays a sample straight through
— ideal for triggering drums sounds or sound effects
– The two “E” buttons launch a sample from its Zone
directly into Logic’s sample editor where you can
graphically edit loop and sample start and end points
as well as take advantage of the sample editor’s powerful DSP functions.
AT 349 W. 34th STREET (with purchase of $100 or more)
This 9 1/2 Octave virtual keyboard allows you to
trigger notes while you set up the zones and groups
for the instrument. The key range for each Zone is
graphically represented beneath the keyboard.
Groups offer several parameters for controlling multiple Zones simultaneously.
– Define the maximum number of voices – ideal for
creating hihat mute groups or for voice limiting
– Volume and pan controls
– EXS Output lets you assign the output destination
of an entire group (i.e. toms from a drum kit)
– Velocity range for dynamically switching samples
– High and Low key range
– Offset the ADSR of the group against the global
ADSR in the plug-in window
– Offset the Cutoff and Resonance for each group
±50% from the main cutoff and resonance controls in the plug-in window.
The pitch of the Sample
Instrument can be tuned ±2
octaves in semitone increments.
Pitchbend has a selectable range of
±36 semitones. Glide and Pitcher
sliders allow you to control
portamento time. Random
detune simulates the
tuning drift of analog
Choose between Legato, Mono and Poly
modes (up to 64 voices). Unison mode
plays multiple voices when each key is
triggered: In Poly mode, 2 voices per note;
In Mono or Legato mode, you can adjust
the number of voices per note up to 8.
Easily select and load an Instrument
from the Sampler Instruments
sub-folder using the pulldown
menu. The + and - keys allow you
to scroll through adjacent Sample
“Hold” lets you define
the modulation source
assigned to control
sustain “Xfade” allows
you to crossfade
between layered
sample Zones with
adjacent “Select
Range” settings.
Control the global
output level and set
minimum and
maximum velocities
to dynamically
controlling sound
The Amplitude
Envelope features
control over attack,
decay, sustain and
release – the attack
parameter is controllable via velocity
Three LFOs can each be assigned as a mod source in the Modulation
Matrix. The Rate for each LFO can oscillate freely between 0 and 35 Hz, or
can be tempo synchronized in values between 32 bars and 1/128 triplets.
LFO one and two provide a choice of Triangle, rising and falling Sawtooth,
Square up and Square down, a random stepped and smoothed random
waveforms. LFO three always uses a triangular waveform. LFO one is a
polyphonic LFO with key sync. This means that it is triggered individually
for each note. An envelope generator lets you control the decay or delay of
LFO one. LFO two and three are monophonic and runs continuously.
A dedicated ADSR
envelope is provided
for controlling the
filter’s cutoff
frequency – the
attack parameter
is controllable
via velocity
The decay time of the filter and
amplitude envelopes can be
shortened for higher notes to
emulate the decay time response
of acoustic instruments.
A convex or concave response curve
can be applied to the filter and
amplitude envelopes attack slope
EXSP24 – Emagic Xtreme Sample Player 24 Sample player for VST 2.0
The EXSP24 sample player runs on host applications capable
of supporting VST 2.0 Instruments. It includes the intuitive
user interface and many of the features which made the
Emagic Xtreme Sampler 24 Bit (EXS24) so successful. As
with the EXS24, the EXSP24 can play samples ranging from
8 to 24 Bit depths, any sample rate from 11 to 96kHz, in any
combination. Sample import facilities will include support
for WAV, AIFF, SDII and SoundFont2 across platforms.
Parameter changes, such as enveloping, filtering and
modulation can be saved as a preset. Samples will
automatically load as part of saved song files. To edit samples
and instruments, Logic Audio and an EXS24 are required.
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The Modulation Matrix
supports up to 10
modulation routing
configurations each with
an independent source and
destination. A fader lets
you set the modulation
depth with a positive or
negative value. A second
source can be added
allowing you to manipulate
the strength of the original
source via an external
controller (i.e. key velocity
can be used to control LFO
speed which in turn is
controlling the filter’s
cutoff). Individual routings
can be bypassed.
The Multimode Filter features a cutoff
frequency, resonance, drive (distortion)
and key follow controls
A choice of three filter types: 12dB/oct
High Pass and Band Pass filters as well a
Low Pass filter with four steepness curves
— 12dB/oct, 18dB/oct, 24dB/oct classic
as When using the Low Pass Filter, a Fat
switch helps preserve strong bass even
with higher resonance
settings. The filter
section can be turned
off to conserve
The Plug-in window gives you access to all of the sampler’s synthesizer parameters such as filters, LFOs, envelopes and more.
Realtime Control Solution For The Entire Logic 5 Series
Logic Control is an ergonomic, expandable remote control surface,
co-developed by Emagic and Mackie Designs, that provides the most
comprehensive tactile control support available for the Logic 5 Series line of
music production workstations. Logic Control offers realtime control over
hundreds of editing, mixing and automation functions for MIDI and audio
tracks, plug-ins and software instruments. Eight full-featured channel strips
with 1024 step, ultra-fast motorized, touch-sensitive faders; infinitely
variable Rotary V-Pots and dedicated channel function keys have direct
access to any of Logic’s channels using the onboard Bank Switching
functions. Other features include dedicated transport controls, a Jog/Scrub
wheel, navigational cursor keys, a myriad of automation and function
buttons and a large backlit LCD display that all work together to ensure
seamless interaction between Logic software and Logic Control and you. The Logic Control system can be extended to
incorporate an unlimited number of physical channels by adding multiple 8 channel Logic Control XT expansion modules.
Bi-directional communication – every change
in Logic Control is reflected in Logic and
◆ Convenient hands-on control of Logic 5’s
32-bit track-based automation
◆ Total recall of faders and displays with song
◆ 100mm Penny & Giles ultra-fast 1024 step
motorized faders (8 channel and 1 master)
follow value changes immediately
◆ Each of the 8 channels also features an infinite
stepped rotary V-Pot encoder with circular
LED graphs and push button; Solo, Mute,
Record and track Select buttons; and a signal
present LED for audio or MIDI
◆ Large transport controls with status LEDs as
well as a Scrub/Jog wheel and Scrub key with
status LED
◆ 41 function keys with 23 status LEDs plus 8
additional, freely assignable function keys
◆ 2 x 55 character multifunctional backlit LCD
displays parameter changes in realtime – Level
meters for all channels can be activated, vertical
or horizontal including overload display
◆ Control parameters such as volumes, EQs,
MIDI, busses, plug-ins, slot selection, sends,
Screensets and more
◆ Select, launch and edit sends, EQs, plugins
and audio instruments (Emagic’s as well as
third party), without stopping the sequence
Operation Modes
Choose between Track View and Global
View to decide whether the channel order
in Logic Control reflects the track order in
the Arrange window or, if Logic Control’s
display will reflect a specific type of
channel (MIDI tracks, audio tracks, instruments, aux, busses, ins and outs)
◆ There are two additional modes selectable
from within the Track and Global Views:
In Multi Channel View, a specific
parameter, such as panning, is displayed
for all tracks. This parameter will be shown
in the LCD and can be adjusted via the
V-Pot. In Channel Strip View mode you
can control a complete function group,
such as EQ, for a selected channel.
◆ Each operating mode is immediately
accessible with a single key stroke.
◆ Flip mode exchanges the functions of the
motorized faders with the V-Pots allowing
you to, for example, control EQ gain using
the motorized faders.
The Rear Panel
MIDI in and out provides communication between Logic Control and Logic
with true plug & play installation and
allows future firmware updates
Two assignable foot switch inputs can
control, for example, Start/Stop and
Punch In/Out and one assignable
controller input for use as a volume or
wah pedal
International (100-250V) external
power supply for standard power cords
High-quality, durable components
including a sturdy 1mm steel chassis
and case
Faders, knobs and switches are all easily
assignable to any Logic function accessible
as a Key Command using standard drag
and drop methods within Logic’s elegant
Controller Assignment window
Third Party
The Logic Control System can control
every OMS-compatible Mac OS 9 audio
and MIDI application, that offers
support of the Mackie Control or the
Mackie HUI including Pro Tools
(including Pro Tools LE and Pro Tools
Free), Digital Performer and Nuendo.
This is ideal if you need to switch
between different host programs, and
want a dedicated control surface at the
heart of all of them.
Six buttons, accompanied by a 2-digit, LED display
allows you to select which parameter groups the
Channel Strips are going to control – Track,
Pan/Surround, EQ, Send, Plug-In, Instrument
10-digit, LED display, switchable
between SMPTE or
bar/beats/sub division/ticks, for
song position information
Eight freely definable user keys
These eight buttons allow direct
selection of specific mixer tracks
such as audio tracks, MIDI
tracks, inputs, busses etc.
V-Pot: A digital endless rotary
knob with LED position
indicators and push button
allows parameter adjustments
of pan, EQ, send levels, etc.
The Modifier buttons duplicate
the Shift, Option, Control
and Command keys of your
computer keyboard
The Automation buttons
activate the Read, Write, Touch,
Latch, Trim and Group modes
Four Utility buttons provide
direct access to saving your song,
Undo as well as cancel or
confirm in dialogs.
A signal present LED that
shows if an audio signal
is present
Four buttons with integrated
colored LEDs control channel
functions such as: Record, Solo,
Mute and Channel Selection
The eight Channel Faders
and the Master Fader are
motorized 100mm touchsensitive Penny & Giles faders
with a 10-Bit (1024 step)
Five Transport buttons with
status LED for Forward, Rewind,
Stop, Play, Record
The Jog/Scrub wheel provides
precise location to any song position as well as audio scrubbing
Comfortable, durable wrist rest
The six buttons just above the master fader allow you to shift the mixer left or right
one channel at time or in 8 channel banks; Flip the assignment if the channel fader
and V-Pots and toggle the track view to access global view parameters.
Four cursor keys (up/down/left/right) allow you to quick navigate
through plug-in slots and parameter pages. The Zoom button to
switches the Navigation buttons to zoom controls
Logic Control XT –
Why MIDI and not Ethernet?
Extension Unit For Logic Control
Each Logic Control or XT unit requires a discrete
MIDI in and out connection. MIDI, as a protocol, was
designed for realtime performances. It has, for many
years now, proven to be accurate enough for that most
timing-sensitive of MIDI events – note information.
By comparison, the timing of controller events is far
less critical. To move a fader to a target value, an
amount of data equivalent to a single note event is all
that is required. In conjunction with the fast Penny &
Giles motorized fader units, there is more than enough
head-room in MIDI’s bandwidth to deal with the most
complex mixes. MIDI, in comparison with Ethernet,
provides simple connectivity and proven, stable
low-latency performance.
◆ Adds eight complete physical channel strips
and an LCD to your Logic Control system
using the same high-quality key components
as the Logic Control
◆ Practically unlimited number can be added to
your system allowing greater customization
and extending the number of simultaneously
adjustable parameters.
◆ Each Logic Control/XT combination forms a
Control Surface Group (CSG). Each CSG can
control different parameters; e.g. one group
controls volume/pan and the second one
controls an audio instrument.
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Marker, Nudge, Cycle, Drop,
Click and Solo buttons extend
the functionality of the basic
transport controls
Large 55 x 2-digit multifunction backlit LCD display shows detailed
information on all selected parameter names and values; track names and
the contents of dialog boxes and can even be used for level metering – vertically, or horizontally with peak hold and overload indicator.
EMI 2|6 • EMI 6|2m
The EMI 2I6 and EMI 6|2 m are portable USB audio solutions providing
professional 24 Bit audio quality at 44.1, 48 and 96 kHz sample rates.
The EMI 2I6 features two analog inputs, six analog outputs and and
S/PDIF I/O while the provides EMI 6|2 m six analog recording and
two analog playback channels and two cinch sockets, which can be
used as either S/PDIF digital I/O, or as MIDI in and outputs. Both
units are extremely lightweight and compact — approximately the
size of video cassette, and are powered directly via your computer’s
USB port — ideal for mobile recording with notebook computers.
Both units also employ Emagic’s low latency technology which
guarantee monitoring of audio input signals with no perceptible
delay as well as realtime performance of software synths. Both
interfaces are compatible with Core Audio under Mac OS X as
well as SoundManager and ASIO using Mac OS 9.1 and higher.
24-bit / 96kHz Multi-channel USB Audio Interfaces
They Both Feature
24 bit A-to-D and D-to A converters
Support is provided for 16 or 24 Bit audio
resolutions at 44.1, 48 and 96 kHz sampling rates
Zero Latency Monitoring
Latency-free hardware monitoring allows
you to monitor the audio recording channels with no audible delay. The stereo
monitor signal can be routed to the analog,
digital or integrated headphone outputs.
EMI 2|6 Inputs and Outputs
The EMI-2|6 features two analog inputs,
six analog outputs using unbalanced RCA
(phono) connectors – compatible with -10
dBV and +4 dBu audio levels
Ideal for Virtual Instruments
Emagic's advanced Low Latency technology ensures that software-based virtual
instruments such as Emagic´s EVP88,
EXS24, ES1 and VST2.0-compatible instruments can be played in real-time.
The unit is automatically recognized by the
computer, making installation simple and
Coaxial stereo S/PDIF digital I/O is also
includes a stereo headphone jack, with
independent volume control
The EMI 2|6 – An Ideal
Surround Sound Solution
The EMI 2I6 provides an affordable
Surround mixing hardware solution via
suitable audio software, such as Logic
Audio Platinum. All Surround formats
up to, and including 5.1, are supported.
This makes the EMI 2I6 the ideal
companion for the production of
Surround sound audio mixes for DVD
or film distribution.
◆ Also
EMI 6|2m Inputs and Outputs
The EMI-6|2m features six analog inputs
with and two analog outputs using unbalanced RCA (phono) connectors – compatible with -10 dBV and +4 dBu audio levels
2 cinch sockets can be used as either a
coaxial S/PDIF digital I/O or as a 16 channel MIDI In/Out port
The USB Advantage
Because power is supplied via USB there is
no need for additional cabling (an optional
power supply is also available from emagic)
Integrated USB HUB provides two
additional USB ports
Doesn’t require any free PCI or other card
slots – no need to open up your computer
Hot plug capability means that the
interface be connected and disconnected
without turning off the computer
Visual Monitoring
Status LEDs for all interface modes
Signal presence LEDs for all inputs and
System Requirements
Free USB port; CD-ROM or DVD drive
Mac OS 9.1
Mac OS X 10.2.2 or higher
Compatible with Core Audio (Mac OS X),
SoundManager, ASIO (Mac OS 9)
Minimum: Pentium or compatible with 233MHz
and 64 MB of RAM under Windows 98 SE 3)
Windows XP
with Service Pack 1 (SP1)
Compatible with DirectSound,
MME, ASIO and EASI applications
Multiport MIDI Interfaces For Windows and Mac
MT4 Features
The ideal MIDI interface for USB-equipped
laptop computers, or for smaller desktop
Two MIDI in ports and four MIDI out ports
provide you with 32 input and 64 output
MIDI channels.
USB connection provides both superior
MIDI timing and power. An LED confirms
USB activity.
Active MIDI Transmission
A segment of the sequencing engine of
AMT compatible software, (e.g. Logic
Audio), is put into the MIDI interface,
(AMT8 or Unitor8 MkII), where it takes
care of sending the MIDI events to the
individual outputs with the highest possible
timing accuracy. At the same time, the
transfer of data from the computer to the
interface is optimized with extreme
efficiency by sending notes in parcels
during the pauses between the musical
events. These parcels are then unpacked in
the interface and sent to the individual
outputs at precisely the required time.
AMT8 Features
8 MIDI In and outs with Activity
Networkable (up to 8 units)
Mac compatible (AMT, MTP
emulation and OMS)
◆ Windows
95/98, Windows NT 4.0,
Windows 2000 and Windows XP
compatible (AMT, MME)
MME compatible multi-client MIDI
driver (multiple midi programs
can use different MIDI ports
Stand Alone Operation with 32
Panic/Patch button
USB connection (PC/Mac) as well
as RS-422 for Macintosh and
RS-232 for PC
Unitor8 MkII Adds–
LTC Generator and Reader with 1/4˝ I/O jacks
and read/write status LEDs
◆ LTC Sync at 12-1000% original tape speed forward and rewind
◆ VITC Generator and Reader with S-Video
connectors and read/write status LEDs
◆ VITC-Sync during single frame advance
◆ Timecode Video Burn-In - also during LTC Sync
◆ Timecode Refresh function, adjustable
Freewheeling, Jam Sync function, Adjustable
MTC Full Frame Message
◆ Click input allows an audio trigger signal or foot
switch to be the synchronization source
◆ Operating system can be updated via SysEx
MIDI Input Ports
MIDI Output Ports
MIDI activity LEDs
USB Power
Patch Mode
USB port
RS-232 port (Win)
RS-422 port (Mac)
AMT Compatible
Panic button
Click input
OS update via MIDI
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Minimum size and weight
◆ Two slip-resistant rubber inserts bind the
housing providing extra stability
◆ MIDI activity on each port is indicated by a
dedicated LED.
◆ Software configurable Patch Mode allows
the MT4 to be used as a MIDI patch bays
with up to 32 patches that can be saved and
◆ Directly supported by Logic Audio and
MicroLogic AV Version 4.01 and up and by
SoundDiver 2.07 upwards
◆ Supplied drivers provide compatibility with
OMS-compatible software
The MT4 is a portable USB-powered
MIDI interface with two MIDI in and
four MIDI out ports. The AMT8 and
Unitor8 MkII are each 8 port, USB
compatible MIDI interfaces. The
Unitor8 MkII adds SMPTE I/O for
synchronizing to external video and audio gear making it an ideal communications hub between your music computers, MIDI
devices, tape and video machines and automated mixing devices. Both the MT8 and Unitor8 MkII benefit from Emagic’s Active
MIDI Transmission technology which provides a measurable, and more importantly audible improvement of MIDI timing. All
three interfaces are networkable over USB and can be mixed and matched allowing up to 8 interfaces to be stacked together.
Universal Sound Editor
SoundDiver 3.0 is a complete and up-to-date MIDI Editor/Librarian that allows
you to conveniently edit every parameter, and catalog, store and organize the patches
for almost 600 different MIDI devices. SoundDiver’s slick user interface features
graphic representations of all editing
parameters with switchable editing depths
as well as photorealistic representations of
your MIDI devices.
A user definable Key and/or remote MIDI
command is available for almost every
SoundDiver function. AutoLink offers
advanced communication with Logic
Audio that allows you to display proper
patch names within in Logic as well as
synchronized the switching of screensets.
External hardware control surface support
allows you to edit and control devices
remotely via MIDI.
Includes editors and librarians for almost 600 MIDI devices
Virtually unlimited undo and redo steps
Once launched, SoundDiver automatically scans and identifies your
devices and displays them onscreen, along with their parameters.
Create randomly generated sounds, copy or paste complete function
blocks or all adjustments of a complex envelope.
The attractive 3-D look with photorealistic device icons and clearly
laid-out user-interface allows you to easily edit every aspect of your
setup with just a few mouse clicks.
Freely definable key and MIDI commands and screensets help to
speed up your work allowing you to be more productive and create
sounds faster and easier.
Access all the potential of your synthesizers and MIDI devices.
Refined help system offers context sensitive help and ToolTips.
Sound Management
SoundDiver creates collections of SysEx data called
Libraries, can contain programs, sounds, combinations, multi's, effects or other data independently of
how they are managed in the respective hardware
devices. This simplifies the task of sound management by allowing you to organize data in using a
consist methodology within the software
Hardware Controllers
Remotely control every MIDI device in your studio using a central hardware control surface such as the Logic Control.
Free Controller Assignments currently allow virtually every parameter of every
editor to be controlled by any MIDI message – an ideal solution for editing, or
accessing the live performance potential, of your MIDI instruments and effects
devices such as delays, filter banks, reverbs.
MIDI controllers with the appropriate support will display the current parameter
assignments. If equipped with motorized faders, they will even follow every move
you make on screen.
Libraries can contain compilations of sounds from
different devices or can be specific to each.
◆ All
data can be sorted freely or automatically by
name, module, data type, date or comment.
The library functions allow you to quickly find the
right sounds; for example, by searching a specific
sound category such as “pads” within your entire
system. A new library can then be created from this
result, with all the dependencies between source
libraries intelligently managed.
◆ AutoLink
is an active connection between Logic and SoundDiver that allows you,
for example, to display patches by name rather than as a list of program numbers.
Opening a song transfers all included sounds and patches to your MIDI devices.
Edits and parameter changes made in SoundDiver can be recorded in Logic.
Screenset switching is synchronized between Logic and SoundDiver, making the
two applications behave like a single program with all the inherent advantages.
Professional Red Book Audio-CD
Mastering and Burning Software
WaveBurner Pro is Emagic's professional, award winning Red Book audio-CD
mastering and burning software for the Mac OS. WaveBurner Pro allows you to
quickly and intuitively assemble a playlist of tracks using non-destructive editing
of regions and crossfades, plus the creation of break, track and index markers.
WaveBurner Pro’s comprehensive plug-in support, audio material can be further
refined and processed in WaveBurner Pro. A host of mastering plug-ins from the
Logic Series is included for applying to individual regions or to the final mix.
Third Party VST plug-ins are also supported. Waveburner Pro is compatible with
a wide range of internal ATAPI and external
FireWire and SCSI CD burners with support
for write speeds up to 32x.
Create Red-Book-compatible CDs with
support for full PQ editing from a variety
of audio file formats
CDTEXT support
Supports Copy Prohibit, Pre-Emphasis,
ISRC number and UPC/EAN code
Recording Function
◆ All
processing is done at an internal 32-bit
floating point resolution until the final
mastering stage where the signal is converted to the 16-bit audio CD standard using
the acclaimed 'POW-r' (Psychoacoustically
Optimized Wordlength Reduction), dithering algorithm which uniquely reduces
word length without adding noise or tonal
coloration developed by the POW-R
Consortium LLC
Real-time conversion to 44.1kHz from high
definition audio files up to 24 Bit/96 kHz
Non-destructive editing within the
Waveform Window of Tracks, Pauses,
Indices, Level, Fades and Crossfades
Create multiple tracks from one audio file
or a single track from multiple audio files
Crossfade support, including S-shape
curves, allows you to make silky smooth
transitions between audio regions
◆ Audio
in track pauses
First track number larger than 1 possible
Integrated Mastering Plug-Ins
suite of precision mastering plug-ins are
provided for taking on critical mastering
tasks. These include:
❧ Fat EQ ❧ Compressor/limiter
❧ Multi-band compressor ❧ StereoSpread
◆ A number of audio restoration tools are
also provided for removing undesirable
noise artifacts from cassette or vinyl
recordings without destroying the top or
bottom end of an audio file
◆ A virtually unlimited number of plug-ins
can be inserted at one time, the total number depends on CPU performance
◆ Compatible with third party VST plug-ins
Supported Data Formats
Direct loading of WAV, AIFF, SDII (also
split stereo) files is supported
MP3 file import and conversion to CD
audio is also supported
Disc image export/import
Export the Tracklist as text file
PPC 604e/200 MHz, Mac OS 8.6 or higher,
96 MB RAM, QuickTime 4.x for MP3
Supports all internal CD burner drives
from Apple, and all SCSI or FireWire
devices which support the Multi Media
Command Standard (MMC or SCSI-3)
Support is also available for many legacy
SCSI CD recorders (independent of MMC)
System Requirements
Supported Audio Hardware
◆ Audiowerk2
or Audiowerk8
SoundManager, ASIO, Direct I/O
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Analog Modeling Synthesizer for Logic
The ES1 was Emagic’s first native virtual instrument and since it’s release, in
1999, it has become the staple analog modeling synthesizer for Logic users
seeking the classic sounds of vintage subtractive synthesizers. Emagic’s
Synthesizer One features all of the essential elements that have given analog
synthesizers such a lasting presence in modern music production – rich
sounding oscillators, fat filters, flexible modulation possibilities and extremely
fast envelopes. Playback timing for the ES1, as with all other virtual synths, is
sample-accurate and the 32-bit sound engine ensures exceptional sound
quality. The ES1 integrates seamlessly into Logic’s digital mixing environment
where it can be further processed by adding plug-ins. And what’s more, every
parameter can be fully automated. Includes dozens of preset instruments from
bone rattling basses to lush pads and from scorching leads to exotic effects and
percussion – all easily accessible using Logic’s hierarchal menu system.
Each instrument uses a single
oscillator with a choice of
Triangle, Sawtooth and Pulse
The main and sub oscillators
are blended before being fed
to the filter section
Low Pass Filter has four selectable slopes (12dB/18dB/24dB
classic/24dB fat) and features variable drive(distortion) cutoff,
key follow and resonance up to self-oscillation. The cutoff can
be controlled via the ADSR or via your keyboard
The main and sub oscillators
are blended before being fed
to the filter section
This double slider provides
control over minimum and
maximum velocity values
The octave range for
the main oscillator is
selectable from 2 to
32 feet.
AGateR lets you control
Attack via the ADSR and
Release via note-off.
ADSR controls volume via
the ADSR
GateR – same as above
except that Attack is always
The sub-oscillator follows the pitch of the
main oscillator with a
choice of 5 waveforms
as well as noise. You
can also assign an
external audio source
to the sub-oscillator
Classic ADSR envelope
reacts with microsecond
Glide controls the
portamento control
The LFO’s rate can be set to run freely or
synchronized to your session’s tempo.
The LFO features a choice of Triangle,
positive and negative Saw, Square,
Sample and Hold and Smooth Random
waveforms. You can also assign an external source as a modulator of the LFO.
The Analog parameter
randomly adjusts the
pitch and filters cutoff
frequency for each
note to replicate the
character of classic
polyphonic synths
The modulation
router allows you
to assign a target
for the LFO and
The Mod Envelope allows you to
assert velocity sensitive decay or
attack attributes to a wide
range of targets like filter cutoff,
oscillator mix, pitch and more
Switchable chorus effect adds
spaciousness and dimension
to patches
Choose up to 16 note
polyphony for each instrument plus legato mode
Emagic Synthesizer 2 – Advanced
Hybrid Modeling Synthesizer for Logic
The ES2 is a unique and powerful software instrument for Logic 5 users, that
combines the warmth of subtractive synthesis found in classic analog synths and
digital synthesis techniques such as Vector Synthesis, Wavetable Scanning and
Frequency Modulation (FM) with a myriad of in-demand synthesis techniques.
Each ES2 can be assigned up to 32 voices, each offering three especially flexible
oscillators, two filters, extensive modulation possibilities. The Unison function
allows you to create massive layered textures up to 32 voices deep. All of these features and more have been wrapped up in an innovative ergonomic user interface
to provide you with a seemingly endless realm of sonic possibilities. Includes over
400 sounds created by renowned sound designers that will immediately unlock the
awesome potential of the ES2 right out of the gate.
Vector synthesis for
dynamic oscillator
mix and control of 2
further selectable
Up to 32-note polyphony per
ES2 instance (CPU dependent),
selectable mono and legato
modes as well as unison mode
which allows you to layer all 32
notes into one huge patch
Two filters configurable to run in serial or parallel:
A Multimode Filter with a variable distortion circuit, (selectable between
Band Pass, Band Reject, Peak, Hi Pass); and a Low Pass Low Pass Filter
with selectable slope (12 / 18 / 24 dB) and a switchable fatness parameter
for enhanced bass response, even at high resonance settings. Frequency
modulation of the low pass filter via oscillator 1.A sine wave from oscillator
1 can be mixed with the filter output for increased low end.
Built-in Distortion circuit switchable
between hard and soft
modes features its own
tone control knob
Portamento control
and pitch bend range
Built-in modulation
effects (chorus, flanging and phasing) with
independent Intensity
and Speed controls,
offers including.
10 freely assignable
modulation paths,
with independent
control of modulation
intensity, lets you
route any of the 22
available modulation
sources to any of the
34 available targets.
Two independent LFOs, one monophonic LFO and
one polyphonic LFO with envelope control each with
selectable free or beat-synced modes and seven
selectable waveforms
Three Envelopes – 2 ADSR envelopes with
sustain time and 1 AD/AR envelope
(selectable between monophonic or polyphonic)
Attack times are controllable via velocity
The Router display
can be switched to
graphically indicate
LFO and envelope
shapes or, when
switched to "Vector",
can be used for
dynamic oscillator mix
control and control of
two freely selectable
parameters over time.
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3 Oscillators
(Oscillator 2 and 3
can be synced to
Oscillator 1) with a
choice of classic
analog waveforms
(Triangle, Saw, etc.)
and 100 digital
waveforms as well as
noise, FM and ring
The EVOC 20 package contains a suite of three software plug-ins that model a
variety of analog vocoders that allow the sonic characteristic of the analysis signal to
be printed to the synthesis signal. The first plug-in is the evoc20-PS. It uses a 16
voice, polyphonic synthesizer, playable in realtime over MIDI to emulate classic
vocoder effects. The second plug-in, the evoc20-TO, uses a monophonic oscillator to
track the pitch of the analysis (input) signal. Each plug-in supports up to 20 bands of
filtering, formant stretch and shift high and low knobs that allow you to determine
the part of the signal to effected. The The third unit is a formant filterbank that uses
volume faders for controlling up to 20 filter bands available for the two filters. The
elegant and intuitive graphical user interface of each plug-in begs to be tweaked and
guarantees instant gratification.
EVOC20 PS - Polyphonic Synthesizer
Utilizes a 16 voice dual oscillator
polyphonic synthesizer with 50 special
waveforms, FM capabilities and colored
noise whose signal can be articulated by
any input signal, giving you classic
vocoder sounds like talking robots, singing
strings, percussive choirs and more.
Up to 20 filter bands can be used for the
articulation process
The Resonance control adjusts the
vocoder’s sound characteristic
Professional Vocoders and Formant Filter Bank for Logic
Combines a vocoder with a
polyphonic synthesizer, playable in
realtime via MIDI.
Formants can be stretched and shifted or
modulated by the syncable LFO
◆ The Unvoiced/Voiced Detector increases
speech intelligibility by adjusting the reaction
speed to sound changes in the analysis signal
◆ The Freeze button holds the latest sound
characteristic of the analysis signal
◆ The Ensemble effect provides that familiar
warm, swirling sound.
◆ Stereo spread control enhances the width of
processed signals.
EVOC20 TO - Tracking Oscillator
Similar architecture in most respects to the
evoc20-PS (up to 20 filter bands, modulatable formants, controllable filter resonance
for sharp or soft vocoder sounds, Freeze,
adjustable reaction times and the U/V
Detection circuit) except that the evoc20-TO
uses a monophonic pitch tracking oscillator,
instead of a polyphonic synthesizer to follow
the pitch of the analysis signal
The oscillator’s waveform can be
switched between sawtooth and 2
oscillator FM.
Pitch tracking that can be limited to
any musical scale
Many surprising sounds can be attained
when polyphonic input signals or
drums are used as the input signal
EVOC20 FB - Filter Bank
The input signal is run through two distinct, fully
adjustable analog-style filter banks in parallel
Up to 20 filter bands per filter can be blended
manually or via a syncable LFO.
Each discrete filter band features independent
level controls with the option to dampen frequencies up to 100%, enabling precise and drastic
sound sculpting.
AT 349 W. 34th STREET (with purchase of $100 or more)
Filter resonance, adjustable filter slopes,
and optional distortion provide an
expansive range of tone colorings.
second LFO, syncable to song tempo,
can be used to modulate the formants
through the movement of filter bands.
Formant movements can also be
manually achieved.
EVP88 • EVP73
Emagic Vintage Piano 88
Emagic’s native tone generation captures the essence of 12 different
vintage electro mechanical piano models
Playable with full polyphony over a range of 88 notes, with 88 voices
(CPU dependent).
Integrates directly into Logic’s digital mixer with sample accurate
timing, access to all plug-in effects and automation with total recall.
Tonal characteristics are easily modified using the variable Decay and
Release EG, as well as volume controls for emphasizing Bell and
Damper noise.
Stretched Tuning Curve and Warmth controls add even more realism
to the sound.
Stereo spread can also be quickly modified.
The EVP-88 is a virtual software instrument that digitally reproduces, the unique
feel, warm tones and expressiveness of vintage Fender Rhodes, Wurlitzer and Hohner
electric pianos with stunning accuracy. These highly sought after electric pianos
include the Fender Rhodes Mark I of the Suitcase and Mark I & II of the Stage series,
the Wurlitzer Electric Piano 200A and the Hohner Electra Piano, as well as many
tasteful variations – there are 12 models in all. Emagic’s native realtime tone
generation ensures that each piano responds to every nuance of a player’s performance with impressive realism. The EVP-88 also features a variety of authentic effects
including EQ, Distortion, Phaser, Chorus and Tremolo. A group of realtime model
parameters are also provided allowing you to adjust stretch tuning, control the volume
of the bell and damper as well as control the decay and release time for the tines.
Two band (bass and treble) EQ controls based on Emagic’s Fat EQ
Drive (distortion) circuit with gain and tone controls allows you to
add just the right amount of bite.
The variable intensity Chorus adds a final high-quality shimmer
The four step Phaser with color control and controls and the Tremolo
with variable rate and intensity controls recreate classic effects that
add movement to your mix. The Phaser and Tremolo also feature an
adjustable stereophase control allowing you to add even greater width
and depth to the effects.
EVP73 – Emagic Vintage Piano 73
plug-in modeled after the Fender Rhodes Stage Piano Mk II
electric piano
Compatible with any host application capable of running VST 2.0
Provides seamless integration into the host application's mixer.
73-note polyphony and the same core engine, great sound and
retro styling of the EVP88.
The realtime native tone generation system allows harmonic interaction of generated notes in response to the users playing style.
Includes the same decay and release envelope generator, bell and
damper controls, stereo width and tremolo controls as the EVP-88
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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Emagic Vintage B3
The EVB3 is an optional software instrument for Logic 5 that
not only emulates the sound of the legendary Hammond with
stunning authenticity, using Emagic’s Component Modeling
Technology, but improves upon it by offering an even broader
range of musical and creative possibilities. Every nuance of
the original, from the tone wheels and the drawbars to the
range of Leslie speaker simulations, and other effects, have
been faithfully captured and are easily controllable with a
graphical user interface that replicates the layout of the
original B3. Whether you’re a jazz, gospel or rock organist,
or a remixer/producer, you will find the responsiveness and
seemingly limitless sonic palette of the EVB3 an indispensible
component in your virtual instrument arsenal.
32 Bit Engine
Up to 195 Voices of polyphony per EVB3
- (CPU dependent)
Sample-accurate playback timing
Fully automatable and supported by
Logic Control
Intuitive User Interface
Laid out like the original Hammond B3
organ, with two (Upper and Lower) keyboard manuals and a Bass pedal board.
Both keyboards provide instant access to
different drawbar combinations via 24 preset buttons, available to each manual.
◆ An
additional octave above and below the
five octaves of the original, allowing
screaming highs and really fat bass sounds
Tone Generation
The very best organs and Leslie speaker
cabinets were analyzed to provide Logic 5
users an authentic, realtime emulation of
the electro mechanical tone generation of
the Hammond B3 Tonewheel Organ
including control over key click noises
and tone wheel crosstalk attributed to
the artifacts and colorations inherent in
aged components. Other events such as
the loudness robbing and tapering
which typified the B3 can also be easily
Each tone wheel is synthesized by
Emagic’s Component Modeling
Rotor cabinet simulation allows you to
choose between different cabinet types
and horn combinations
The virtual microphone for the horn can
be freely placed at any distance or angle.
The Upper and Lower Manual feature two
sets of 9 drawbars each with 8 values.
The Bass Pedal features 2 drawbars each
with 8 values
Percussion Decay, volume, upper manual
Envelope for bass pedals, upper and lower
◆ You
can morph between presets via MIDI
High-resolution drawbar control system
provides over 250 million possible
Leslie Cabinet emulation with Chorale,
Brake and Tremolo modes. Can be
modulated via aftertouch, sustain pedal or
modulation wheel
◆ A Wah Wah
6 Types of Scanned Vibrato with adjustable
Rate and Chorus controls.
3 band EQ based on Logic’s Fat EQ
and Reverb
◆ All
parameter modifications can be stored
as Settings.
effect with 6 classic filter types
can be controlled via any MIDI controller.
Even the peak can easily controlled via foot
Realistic tube distortion with tone warp
controls and 3 distortion types
◆ It is also possible to determine the order of
the effects in the signal path
Effects Plug-ins
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The Leslie, Vibrato and Distortion
effects are also included as separate
plug-ins allowing audio tracks to be
run through the effects in any order
Emagic Virtual D6 Clavinet
The EVD6 is a software instrument for Logic 5, which
uses Emagic’s component modeling technology, powered
by a 32-bit floating point processing engine, to flawlessly
recreate the classic sounds of the ultra-funky Hohner D6
clavinet. The EVD6 sports a stylish retro-look and an
intuitive graphic user interface that is packed with several
enhancements that deliver sound creation and modulation
possibilities that far exceed those available to the original
stringed instruments. Each instance of the EVD6 provides
up to 73 note polyphony depending on CPU resources.
And like the other Emagic software instruments available to the Logic 5 series, the EVD6 provides sample-accurate playback
timing; can be fully automated and is supported by Logic Control.
emulation of multiple
clavinet models including the Hohner D6
with its characteristic overstrung design as
well as a number of exotic stringed
instrument sounds are represented in the
included presets
◆ Component modeling delivers a flawless
simulation of the electro mechanical
mechanism of the original instruments.
◆ Key Click on key down/up with Intensity,
Random and Velocity parameters emulates
key strike and release noises caused by the
aging of the strikers in the original
◆ As with the original D6, the combination of
pick-ups can be freely selected from 4
configurations. The position of the pick-ups
can also be changed in realtime or
automated to create phaser-like sounds.
Rocker switches are provided for the
Filter section with Brilliant, Treble,
Medium and Soft settings. An
enhancement of the EVD6, not available
on the original D6 is the ability to turn
the filter section off.
Sounds can be easily modified via
high-resolution controls that allow
precise adjustment of string Decay,
Release, Damping, Tension Modulation,
Stiffness, Inharmonicity and Pitch Fall
Discrete Exciter with Shape and
Brilliance controls
Stereo Spread control for Pickup or Key
Damper wheel control
◆ All
parameter modifications can be
stored as Settings.
Three integrated foot pedal effects include;
Phaser with adjustable Rate and Intensity
controls, Distortion with adjustable
Tone and Gain controls, as well as a Wah
effect with 6 classic vintage Wah Wah
filter models
◆ The routing order of the effects in the
signal path is freely configurable
◆ The Wah effect has adjustable Width and
Depth controls for creating autowah effects
or you can control the wah effect’s cutoff
frequency via a MIDI footpedal (or any
other MIDI controller).
Wah Effect Plug-in
◆ A Wah Wah
/ distortion effect is also available as an independent plug-in that can be
applied to other sound sources in Logic 5.
Emagic’s Software Synthesizer Technology
Emagic‘s broad range of software instruments were developed
to take full advantage of the capabilities of native sound
synthesis and processing.
The direct connection of software instruments within Logic’s
sequencing engine guarantees unsurpassed precision with sampleaccurate timing that is superior to any external MIDI synthesizer.
Each instrument delivers outstanding sonic quality with
minimal latency and ergonomically designed user interfaces.
◆ Another
Each software instrument integrates seamlessly within Logic ’s
internal digital mixer, where they can access additional
plug-in effects as well as the 32-bit automation engine.
advantage of software instruments is that all effects, mix
settings, instrument patches and edits are saved with your song file
where and are instantly recalled with your song.
Software instrument parameters can be easily controlled using
external control surfaces including Emagic’s Logic Control.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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Three Foot Pedal Effects
Tone Generation
◆ Authentic, realtime
Logic Audio Big Box
The Logic Audio Big Box includes Logic Audio 5 audio and MIDI production software, the
critically acclaimed EVP73 Emagic Vintage Piano, the astoundingly fat ES1 Emagic Synthesizer,
plus the super versatile, ultra low-latency EXSP24 Sample Player, which includes over 600 MB of
high-quality samples ready to play. To sweeten the pot, the Big Box also comes with the indemand Xtreme Analog sample CD containing over 200 fat sounds sampled from classic analog
synths. With five individual world-beating Emagic products in one box, this jackpot is no gamble.
EMI 6|2 m Production Kit: The All-In-One Recording Solution
The EMI 6|2 m Production Kit is a bundle of six complete Emagic products in one package: the
EMI 6|2 m USB/Hub/MIDI interface; the latest version of the award winning Logic Gold 5 recording
software: and the Emagic instruments EVB3, EVP88 and the EXSP24 bundled with the Xtreme
Digital Sample Library. The EMI 6|2 m is a USB interface that provides six 24 Bit analog inputs
and two analog outputs, at sample rates up to 96 kHz, MIDI I/O, a stereo headphone jack and stereo
S/PDIF digital I/O, with the latter doubling for MIDI I/O duties. The Logic Gold 5 professional
music production software delivers up to 64 tracks of 24bit/96 kHz audio, 32 bit floating point
internal processing, unlimited MIDI tracks and 34 integrated plug-ins with support for third party
Audio Unit (Mac OS X) and VST 2.0 (Mac OS 9) plug-ins. The EVB3 is a software-based B3 that
uncannily captures the essence of the original with unmatched realism. The EVP88 captures the sound of the legendary Fender Rhodes,
Wurlitzer and Hohner electric pianos. The EXSP24 sample player is also included along with the Xtreme Digital sample collection.
Emagic Vintage Collection:
Analog Legends for The Digital World
The Emagic Vintage Collection includes the successful. multiple award-winning EVP88, the EVD6
and the EVB3, all for a special price. With the Emagic Vintage Collection, the vintage myths of the
Fender Rhodes, Wurlitzer and Hohner electric pianos, Hohner Clavinet and the legendary B3
comes to life in today’s computers. Uniquely, these vintage software instruments do not just statically recreate an instrument’s tonal characteristics, as would be the case with samples. Rather, they
expressively react to the player’s every nuance with impressive realism. The use of the Emagic
Vintage Collection requires an installed copy of Logic Audio 5.3 (or higher) for Macintosh.
Emagic Synth Collection: A Fine Selection of Synthesis Techniques
The Emagic Synth Collection includes three multiple award-winning software synthesizers for Logic
Users: the ES2, the EVOC20 and the ES1 — all in one premium, specially priced package. The ES2
is a brilliant and powerful sounding soft synth with a unique ergonomic user interface that draws
from the past to redefine the future. Its combines an extraordinary synthesis engine that delivers
exceptional tonal quality in all registers with a complex voice architecture that provides extensive
sonic possibilities. Able to combine the full-bodied energy of analog systems with the shimmering
detail of glistening digital tone generation, the ES2 owes its enormous sonic wealth to an unsurpassed palette of in-demand synthesis techniques. The EVOC20 package provides Logic users with
three powerful tools for sound design: A classic polyphonic vocoder with built-in synthesizer, a
formant filter bank, and a pitch tracking vocoder. Each plug-in provides maximum flexibility and features pristine 32 Bit sound quality.
As a real synthesizer, the ES1 offers extremely flexible tone generation that puts the entire palette of analog sounds at your disposal:
earth-shaking basses, rich pads and textures, screaming leads, ultra-sharp percussion and exotic effects.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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TDM Collection
E X S 2 4 A N D E X S P 2 4 F O R M AT C D R O M S
Xtreme Analog
The Xtreme Analog CD-ROM contains a vast array of expertly compiled multisampled analog synthesizer
waveforms, many of which were generated in stacked or unison mode for maximum impact. These fat,
rich analog oscillator waveforms and layers are used as the initial sound source and then shaped using the
EXS24mkII’s extensive range of powerful synthesis capabilities including PWM, Sync, FM, cross
modulation, filters, envelopes and LFOs. The user-friendly interface of the EXS24 positively invites the
intuitive editing of sounds with both individual waveforms and complete Instruments, further enhancing
the creative potential of the Xtreme Analog sound library. The velocity-controllable sample start point
modulation function of the EXS has been utilized to create a number of dramatic and extremely vivid
sound structures. And for the traditionalists, you can check out the exceptionally authentic core sounds of several legendary synthesizers,
including the Jupiter 8, Matrix 12 and Oberheim Xpander.
Xtreme Digital
As with Xtreme Analog, the most important goal with Xtreme Digital, was to create the fattest, deepest
sounds possible, covering stacked sounds and complex sound variations. Xtreme Digital provides sounds
of unparalleled richness, as most of the stereo multisamples equate to a sound comprised of four single
sounds from an expensive digital synthesizer or workstation. The complexity and depth of the samples
makes many of the sounds on the CD-ROM surprisingly light on RAM, while maintaining the highest
possible quality. To create individual sounds from scratch, you will find basic waveforms in the Sampler
Instrument/Initial Waveforms folder.
A special Highlight of the CD are the 12 Chromatic Kits. These are percussive, metallic synthesizer sounds
that have been sampled chromatically. As you’d expect in a multisampled drum kit, each key in the 5 octave range features a different sound. In
most cases, these sounds have a atonal characteristic, making them well-suited for drums and percussion.
Xtreme HipHop
With Xtreme HipHop, Emagic and King Tech have compiled the most comprehensive resource available
for the types of sounds, loops and performances demanded by the the most discerning HipHop, R&B,
and Pop producer. Xtreme HipHop contains hard hitting, street-ready sounds from some of Hip Hop’s
most noted producers and artists. In addition to the traditional rough and nasty street kicks, snares and
hihats you would expect from these contributors, Xtreme HipHop offers a huge bank of bonus
instrument files and sound bites including: Rhodes phrases, pads, scratches, turntable noises, wah guitars,
vinyl hits and more. Every sample on the CD was hand picked and meticulously edited for maximum
impact. They deliver fat sounds that have been processed under the advice of some of today's hottest
mixers, producers, and engineers. Of course, by using the superb filtering, envelopes, and multi-layering capabilities of the EXS24 or EXSP24
you can contour the samples found on the Xtreme HipHop CDs even further.
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The TDM Collection combines three sought-after Emagic software products in one specially priced package:
ESB TDM, Host TDM Enabler and PTHD Extension. Emagic’s ProTools HD Extension (PTHD | Ext) for Logic
Platinum (Mac) provides compatibility with Digidesign’s ProTools HD system including the latest TDM II
architecture, with support for sampling rates up to 192 kHz. The Emagic System Bridge TDM (ESB TDM) is
the ideal link between the DSP world of the TDM system and the computer's native CPU processing. The ESB
TDM allows you to incorporate native audio tracks, Logic’s and VST plug-ins and Audio Instruments into
Logic's TDM mixer. The ESB TDM also allows you to use the EXS24mkII directly in the Aux channels of Logic
Audio Platinum’s TDM mixer. The Host TDM Enabler allows you to insert the Emagic software instruments
ES1, ES2, EVP88, EVB3 and EVD6 – available separately – into aux channels of the TDM mixer, including
TDM-compatible hosts other than Logic Platinum, where their audio signals can be further processed with any
of the TDM plug-ins.The TDM Collection requires an installed copy of Logic Platinum 5.5 (or higher) for Mac
OS 9, apart from the Host TDM Enabler, which can also be used with other TDM-compatible host software.
Audio Workstation Software with MIDI
Sequencing for MacOS
An integrated digital audio and MIDI sequencing production system, Digital
Performer provides a comprehensive environment for editing, arranging, mixing,
processing and mastering multitrack audio projects for a wide variety of applications.
Digital Performer allows you to simultaneously record and playback multiple tracks of
digital audio and MIDI data in a totally integrated, creative environment. It features
dozens of real-time DSP-effects with easy to use graphical controls, complete
automation and supports multiple processor computers. Extensive audio file editing is
also included, from the usual cut, paste and copy tools to MOTU’s PureDSP functions,
providing independent control over the duration and pitch of audio files with
exceptional sound quality. This allows for tempo-conforming drum loops, adding vocal
harmonies or even gender-bending vocal tracks. Digital Performer’s award-winning
multitrack sequencer design, combined with non-destructive digital audio editing
capabilities, provide you with unprecedented flexibility and control over the audio you create. And now, version 4 takes full
advantage of OS X’s MIDI and audio services, providing 100% compatibility and inter operability with OS X and all
CoreMIDI- and CoreAudio-compatible software and hardware.
Unlimited audio tracks (as many tracks as
your CPU and hardware will allow) with
support for high resolution 24-bit audio up
to sample rates of 192kHz.
Record and playback an unlimited number
of MIDI tracks simultaneously.
MIDI can be edited with a resolution of
1/10,000.000 PPQ (pulses per quarter).
Direct support is provided for MOTU’s
range of professional audio interfaces, such
as the 2408MKIII, as well as a wide range of
third party audio hardware using Core
Audio drivers. ProTools HD support is
expected in the near future as a free update.
MIDI timing resolution is accurate within a
single MIDI byte (under 1/3 of a ms) when
used with a MOTU USB MIDI interface.
Individually zoomable tracks, flexible
window arrangement, and navigation tools
allow for trouble-free manipulation within
even the largest projects.
Dozens of real-time 32-bit and 64-bit
DSP-effects are provided with DP to meet
the demands of today's audio production
including EQs, dynamics processors,
reverbs, modulation effects, delay, filters,
preamp simulators, mastering plug-ins
and more
◆ Audio
tracks can be mono, stereo and surround (n-channel) tracks.
The Bounce to Disk feature allows you to
combine an unlimited number of audio
tracks, along with effects and realtime
automation, into a single mono, stereo or
surround track. Need to hear 100 audio
tracks at one time? Just bounce them down.
Original tracks are always preserved, so you
can go back and tweak them if needed.
Audio Editing
◆ View
and edit all of your digital audio tracks
in a single, intuitive window
◆ Audio editing is accurate to a single sample
Everything from simple dialog editing to
complex restructuring of large compositions
is as easy as playing with Lego blocks
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Everything is automatable, including
effects parameters with five advanced
automation modes and sample accurate
editing of automation data
◆ Support for control surfaces including
Mackie Control, Mackie HUI, CM Labs
MotorMix, Radikal Technologies SAC-2.2
◆ Save your fully automated mixdown for
instant recall at any time, and then create
an unlimited number of alternate mixdowns
◆ Virtually every parameter can be immediately
accessed via customized key commands or
MIDI controller. You can even save your
key command settings and import them
into a DP session at another studio.
How Many Audio Tracks?
The maximum number of tracks you can
play back at a time depends primarily on
your CPU speed, how fast your hard drive
is and how much RAM you have. Based
on a Dual 1.2Ghz G4 w/512MB RAM you
can expect to get approximately 140-150
independent tracks of audio with 8-band
EQ and dynamics on every track.
Sequence Editor
Side-by-side display of MIDI
and audio tracks — The
Sequence Editor window
provides combined viewing
and editing of MIDI notes,
audio soundbites (audio
regions), audio automation
and MIDI controller data in
one window along a single
Movie track – a QuickTime movie
track displays movie frames side by
side with MIDI and audio data. DP
intelligently displays more frames as
you zoom in and fewer frames when
you zoom out, so that frames are never
obscured by overlapping one another.
Zoom in to work on fine details
or zoom out for a wide overview.
Independent vertical zooming – Both
MIDI and audio tracks can be independently resized vertically. Many
zoom shortcuts are provided, including
the ability to enlarge one track and
automatically scale all other tracks to
fit in the window.
This expanded MIDI track
uses a graphical Piano Roll
style editor to display MIDI
events and controller data
using ‘audio style’ breakpoint
Scale individual audio track sizes as
well as adjust the waveform height
within each track.
Record and insert volume
and pan effects.
Soundbites Window
Waveform Editor
The Tool Palette includes: arrow cursor, pencil,
waveform tool, waveform selector, rhythm brush
(for painting percussive patterns in the Drum
Editor), magnifying glass, loop insert, and scrub.
These tools operate consistently across all applicable
windows. If a tool does not apply to the currently
active window, it grays out.
The fully-integrated waveform editor provides all of the tools you’d expect from a
premium editor including:
Crossfades help you eliminate unwanted clicks and
pops when overlapping soundbites and allow you to
perform fade-ins and fade-outs of soundbites.
Crossfades (of any length you specify) can also be set
to be automatically applied any time you cut, copy,
paste, splice and otherwise edit your audio files.
– View and Edit mono and stereo audio
files and create soundbite boundaries
with single sample accuracy
– Use the pencil tool for removing clicks
– A loop tool lets you create perfect loops
for your sampler as well as mute and
scissor tools
◆ “Drag
Sort by any parameter (length, bit depth
etc.) Trace the genealogy of the soundbite
by viewing it’s family tree
Many navigation tools are provided to help
you work more efficiently like scrubbing,
jumping to selection or loop boundaries, as
well as user-definable zoom levels
Re-size soundbites by dragging their edges. Split and
trim soundbites to work with smaller regions.
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Non-Destructive Audio Editing
Copy and paste regions to repeat verses
or sound effects.
Graphically draw volume and pan
automation curves.
and drop” audio regions from the
soundbites window to any editing window
for intuitive placement.
Open the various MIDI and audio
editors and other windows with a
single mouse click.
DP’s Mixing Board – a virtual mixing console on your computer screen
More flexible than even the
most expensive hardware
consoles ever made
Instantly create customized
board layouts: drag track strips
anywhere you like, and show or
hide any combination of
tracks - or even mixer sections
(like the inserts section) - with
a mouse click.
Save and recall any number of
custom Mixing Board
Save multiple effect presets as a single clipping and
then drag and drop them onto any track in any mix
Use Aux tracks to combine hardware instruments and virtual instruments into one mix
◆ Assign
tracks to plug-ins and
MIDI effects processors for
real-time output processing
Faders can respond to control
surfaces or any MIDI controller
such as a volume slider or pedal,
mod wheel or any data slider.
◆ View
your MIDI and audio
tracks in a single, unified mixer
Create snapshots of the entire
mixer - or any portion of it –
anywhere in your sequence
with the click of a button.
Configure up to twenty
effects inserts per each
audio channel, and the
32 stereo busses.
Solo, mute and
record enable
mode and
Ride faders and
knobs during
playback to record
automated mixes.
32-Bit and 64-Bit Fully Automatable Realtime DSP Effects
32-bit and 64-Bit realtime effects with easy to
use intuitive graphical controls
Effects can be inserted on a single channel or on
a bus and accessed via a channel send
Effects can be easily organized into folders
Multiple plug-in windows and surround
panners can be opened simultaneously
Up to 20 effects can be inserted pre or post
fader per channel
The number of simultaneous effects is limited
only to the speed of your computer
Multi-processor support of MOTU’s and third
party plug-ins provides nearly twice as much
processing power with dual processor CPUs
Compatible with effects supporting mono,
stereo or surround inputs and mono, stereo or
surround outputs
Sidechain inputs allow you to control an effect
parameter from any audio signal in mixing
environment by busing the audio to the
sidechain input.
Included Effects
2, 4 and 8 band EQ
PreAmp-1 tube-simulation and
distortion plug-in
3 reverbs
2 noise gates including the
MasterWorks Gate with real time
look ahead gating
2 compressors
synth-style multimode filter
Echo & delay effects including a
surround delay
Modulation effects including
chorus, phaser, flanger, the Sonic
Modulator and more
Everything in the mixing environment can
be automated in real time, including effects
parameters, track mutes/solos, effects
bypassing, send levels, send mutes
can be recorded during
playback, or you can draw and edit
parameters in the audio graphic editor
Automatic Audio Conversion
◆ Automation
conversion options include:
Automatic sample format and sample
rate conversion when importing audio
❧ Automatic time-stretching of audio
when placing soundbites into a track
❧ Automatic time-stretching of audio
when the tempo is changed
❧ Automatic placement of imported audio
files in a pre-designated folder, regardless
of if format conversion took place or not
Support for three types of automation
data: ramps, stare-step, one-shot (such as
waveform type - sine, square, etc.)
data is always displayed using
real-world values such as decibels and
Sample-accurate 32-bit floating ramp
automation insures smooth automation
movements without unwanted artifacts or
zipper noise
Five advanced automation modes allow
you to: Modify automation data you’ve
already recorded; Scale values up or down
while maintaining its current contour;
Overwrite automation that’s already there but only after you punch in
Effects automation can be controlled in
realtime via MIDI allowing you to add
seemingly complex sound design
elements, such as sequenced filtering
effects in minutes
Effortlessly create fader automation groups
with any fader as the master
Support for control surfaces including
Mackie Control, Mackie HUI, CM Labs
MotorMix, Radikal Technologies SAC-2.2
and more
Both PureDSP and off-line audio
processing occurs in the background so
you can continue working
The graphic time-stretching function
allows you to grab the edge of a soundbite
with the hand cursor and stretch it longer
or shorter.
Acid File Import
files can be imported using
standard drag and drop. If the Acid file has
a tempo and automatic tempo conversion
is enabled, it will automatically conform to
the sequence tempo when placed in a
Sampler Integration
The Samplers window lets you transfer
samples between your project, supported
sampler and the Mac’s desktop (hard
drive) via SCSI using simple drag and drop
Imported samples are automatically
converted into Sound Designer II files
and back to the sampler’s format when
Using the integrated waveform editor, you
can define a region of audio from your
project, edit it, trim the edges with sample
level precision, specify loop points, normalize, fade in & fade out and send it to
your sampler - without ever leaving DP
◆ Acid WAV
Save your fully automated mixdown for
instant recall at any time, and then
create an unlimited number of alternate
Using beat/tempo based automation you
can control plug-in effects to move in
perfect time with your music, from LFO
synchronization to filter sweeps that land
on downbeats to multitap delays that
create syncopated rhythms
PureDSP (time compression/expansion)
functions provide high quality, independent
control over the duration and pitch of
audio files allowing you to conform the
tempo of drum loops to your project and
add vocal harmonies or gender-bend
effects to vocal tracks
REX 2 file import allows you to conform
Recycled audio files to your DP sessions
ReWire support allows you to integrate
outputs from Propellerheads’ ReBirth and
Reason applications into DP
Import and export SDII. Aiff and .Wav files
POLAR is a unique, interactive,
RAM-based loop recording environment that allows you to layer multiple
passes of audio (limited only to the
amount of available RAM) without
having to stop recording.
Use POLAR to layer vocal harmonies;
generate mesmerizing polyrhythms;
build an entire song or just plain jam.
◆ When
going for that ‘perfect take’
POLAR can mute the previous take
for you automatically so you can
concentrate on the music not on
playing engineer.
Because POLAR records audio directly to RAM, you can overdub on the fly without
affecting your disk tracks.
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Mute and Solo automation allows you to
bring tracks in and out of the mix in real
time as you listen
Time Compression/Expansion
◆ Automatic
◆ Automation
DP can automatically convert audio data
wherever necessary to conform to the current project's sample rate, sample format
and tempo. This greatly streamlines the
process of importing audio quickly into
your projects.
MIDI Editing
DP provides a range of
environments, besides the
Sequence Editor, for editing
MIDI data including a Graphic
(piano style) Editor, an Event
List editor, a dedicated Drum
Editor and QuickScribe
(notation). This combination of
editors offers you the flexibility
of fine-tuning single MIDI
events, or make changes to
entire sections
Multiple MIDI tracks can be
edited and displayed in one
Graphic Editor window – notes
for each track are displayed in
the track’s color. A track selector
list allows you to show/hide
tracks as desired
Three freely switchable MIDI
continuous controller editing
modes provide flexible and
intuitive automation of MIDI
Notation Window
1) DP’s classic ‘points’ mode
2) ‘Vision-style’ colored bars
3) Audio-style breakpoint
automation lines which intelligently interpolates CC data
Adjustable PPQ
The display resolution can be
adjusted to 480, 960, 1920 or
any number from 2 to 10,000
PPQ and each tick value can
be displayed with up to four
decimal places. For example,
if you normally edit MIDI
data at 480 PPQ, you can set
your edit resolution to
480.000 for 1000 times more
precision. With the resolution
at its maximum value of
10000.0000, you can nudge a
MIDI event by a little as one
one-hundred millionth of a
quarter note.
Print the whole score or individual parts
Continuous scrolling moves the music
under the wiper which stays fixed to the
center of the window.
Support for five different clefs: treble,
bass, grand staff, alto and tenor clefs.
◆ You
can choose a specific instrument
transposition as well as a score transposition for each instrument.
Non-Destructive MIDI Effects Plug-ins
variety of MIDI processing plug-ins can be can be
inserted into the mixing board window and applied to
your MIDI tracks non-destructively in real time
Bundled MIDI plug-ins include:
Arpeggiator; Echo; Remove Duplicates (gets rid of
duplicate events on the same tick); Transpose; and Shift
can all be applied non-destructively and in real-time
Plug-in settings can be saved and recalled for use on
other tracks or in other sessions
Realtime MIDI Effects can be ‘printed’, (destructively
applied) to the track. This allows you to add effects to
certain portions of a track, instead of the entire track
Surround Sound
complete environment is available for
creating surround recordings from start to
finish including support for quad, LCRS,
5.1, 6.1, 7.1 and 10.2 surround formats
The desired surround panner can be
controlled with the panning dish available
for each track’s channel strip in the Mixing
Board. Panners can also be opened as
separate windows (just like a plug-in)
MacOS Input Sprockets support allows
you to connect a compatible USB joystick
to your Power Macintosh and use it to
control any MOTU or third-party
surround panner
Record, edit and apply effects to multichannel tracks as easily as mono and stereo
tracks – master the multichannel mix
using a wide range of channel effects,
including the MasterWorks Limiter and
bounce the surround submix to disk or
record the output of a multichannel mic
setup or print a multichannel reverb
The included Auralizer effect is a room
simulator that allows you to localize a
sound in space using psychoacoustic cues
– design the size and absorptive
characteristics of the space you wish to
place your audio, then place a sound
precisely in that space.
Universal compatibility and interoperability
with Mac OS X and all CoreAudio- and
CoreMIDI-compatible software and
hardware. No special drivers or wrappers —
just install your software, plug in your
hardware, and go.
◆ Operate multiple audio hardware systems
simultaneously with Digital Performer —
use your MOTU 828 FireWire audio interface together with your MOTU 2408mk3
PCI audio interface - or use any combination
of CoreAudio-compatible interfaces.
◆ Mac OS X’s Audio MIDI Setup utility
delivers universal MIDI system management.
DP4 shares a common studio setup with all
of your Mac OS X MIDI applications.
Easy device remapping from FreeMIDI to
CoreMIDI when you open a project created
in an earlier version of Digital Performer.
Mac OS X’s MIDI device patch lists and
drum note names allow you to view the
sounds in your MIDI synthesizers by name
in Digital Performer’s patch lists. Build drum
kits with instrument names like “808 kick”
and “sizzling hat” rather than note numbers.
All of FreeMIDI's of patch lists have been
ported to Mac OS X, where they can be used
by any CoreMIDI-compatible software.
Support for interapplication MIDI - Digital
Performer can publish an unlimited number
of MIDI inputs and outputs, allowing it to
transmit and receive a virtually unlimited
number of MIDI data streams to and from
other CoreMIDI-compatible software.
Mac OS X’s MIDI Time Stamping achieves a
12th of a millisecond MIDI timing accuracy
on input and a 3rd of a millisecond on output when used with a MIDI Time Stamping
compatible hardware including MOTU’s
rack-mount MIDI interfaces.
ReWire 2.0 support provides
compatibility with Propellerhead
Reason 2.0, Rebirth and all other
Rewire applications. Direct MIDI
I/O support allows you to
sequence MIDI tracks in Digital
Performer using your ReWire
instruments as virtual synths.
Enhanced QuickScribe notation
transcription engine - display and
print unquantized MIDI tracks as
beautifully engraved music scores,
instrument parts and lead sheets.
Digital Performer Version 4
features that are on the way - to
be supplied as a free update soon:
◆ Support for Audio Units plug-ins
for effects and virtual instrument.
◆ Support for Pro Tools hardware
running under the Digidesign
Audio Engine (DAE) including
ProTools HD hardware.
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Four panner plug-ins are provided including
a localizing room simulator – support is
also provided for third party panners
Each audio track can be assigned to any
surround sound format and have its own,
independent surround panner
Panning movements are fully automatable
PCI-based Audio Workstation
A cost-effective solution for recording and editing digital audio without sacrificing the power and flexibility needed in today’s project and
commercial studio environments, the
2408MK3 has everything you need to
turn your computer into a powerful
24-bit/96kHz digital audio workstation.
The 2408MK3 provides 8 channels of pristine 96kHz analog
recording and playback, combined with 24 channels of ADAT and
Tascam digital I/O — the most ever offered in a single rack space audio
interface. Connect up to four interfaces to the PCI-424 card and you have a
system capable of 96 simultaneous active input and output connections at 96kHz.
The 2408MK3 is ideal for both the computer-based studio with no mixing board and more
elaborate studios built around a digital mixer of any size. For the computer-based studio, the bundled PCI-424 card also features CueMix DSP, a flexible DSP-driven mixing and monitoring matrix that eliminates the need for an external mixer or
patch-bay. Connect all your studio gear, including synths, keyboards, and even effects processors. Then control it all from the
desktop with no audible monitoring latency and no processor drain on your computer. With 24 channels of digital I/O, the
2408 is ideal for connecting your computer to a digital mixer. Both ADAT and TDIF digital connections are supported at up to
96kHz. And with built-in video and SMPTE synch, you can slave your entire workstation directly to video or SMPTE time
code with sub-frame accuracy—without a dedicated synchronizer. The 2408mk3 is cross-platform compatibility with Mac,
Windows 98SE/Me/2K/XP and most audio software and host-based effects via WDM/ASIO/Sound Manager drivers. Or use
the included AudioDesk workstation software for Mac, with 24-bit recording/editing and 32-bit mixing/processing/mastering.
The rear panel of the 2408MK3 rack-mount interface provides
eight 1/4˝ balanced TRS analog inputs and outputs, an extra pair of
main analog outs (1/4˝ TRS), three banks of 8-channel ADAT
optical “lightpipe”, three banks of 8-channel Tascam TDIF, RCA
S/PDIF (with an extra S/PDIF output), Audio Wire and BNC word
clock I/O.
The extra stereo output has front panel volume control so you can
plug powered monitors directly into the 2408mk3.
You can choose any three banks (up to 24 channels) to be active at
one time. This means you can hook up three ADATs, three DA-88s,
and eight analog devices all at the same time and access any three
banks - in any combination of formats. And you can freely switch
formats at any time.
Expansion Capability
A core 2408mk3 system provides 24 inputs and outputs, but it also
offers the most expansion ever offered in a single PCI card. Up to
four interfaces can be connected to the PCI-424 for up to 96
channels of simultaneous input and output at sample rates up to
96kHz. Think about the possibilities: you could connect twelve
8-channel ADAT or TDIF compatible devices including MDMs,
digital mixers, and A-to-D converters to your computer, along with
32 channels of analog I/O, and simultaneously record and play as
many tracks of audio as your computer allows.
All four audio formats (analog, optical, TDIF and S/PDIF) support
operation at 44.1, 48, 88.2 or 96 kHz. Each 2408mk3 provides up to
24 channels of simultaneous I/O at 44.1 or 48kHz or up to 12
channels —three 4-channel banks– of digital I/O at 88.2 or 96kHz.
S/PDIF Input/Output
PCI-424 Card & Cuemix DSP
For the computer-based studio, the PCI–424 card features
CueMix DSP, a flexible DSPdriven mixing and monitoring
matrix that provides the same
near-zero monitoring latency
as today’s latest digital mixers.
CueMix DSP allows you to connect
keyboards, synth modules, drum
machines, and even effects processors and then monitor these live
inputs with no audible delay and no
processor drain on the host CPU.
SMPTE & Word Clock
S/PDIF jacks (RCA) on the rear panel can
be switched via software to become a dedicated SMPTE LTC timecode I/O. However,
because the 2408mk3’s sync features are
driven by the PCI–424’s DSP, any analog
input can be chosen for SMPTE input, and
any active channel, digital or analog, can be
chosen as a SMPTE time code output.
Supplied software also provides a complete
set of tools to generate SMPTE for striping,
regenerating or slaving other devices to the
computer. Synchronization features are
cross-platform and compatible with all
audio sequencer software.
Users who already own a 2408MKII or
other PCI-based MOTU recording system
can connect their legacy MOTU hardware
to the PCI–424 card of a 2408MK3 system.
legacy PCI-based MOTU interfaces are
supported, including the original 2408,
2408MKII, 1296, 1224, 24I and 308. Users
can mix and match legacy interfaces with
the new 2408MK3 as they please.
Legacy interfaces can also take full advantage of the PCI-424’s CueMix DSP nearzero latency monitoring.
PCI-424 resolves directly to SMPTE time
code via any available analog input with
sub-frame accuracy. No separate SMPTE
synchronizer required. Also provides
word clock and ADAT Sync to achieve
sample-accurate digital transfers between
digital recorders and the computer.
Includes a setup wizard for both Mac and
PC based systems that will have you up and
running in minutes. The Setup wizard is an
interactive, stand-alone director movie that
helps you connect everything together. It
even configures the 2408MK3 driver for you
when you’re done!
Switchable input levels (+4/ –10dB) for
each analog input pair via software.
2408MK3 connects to the PCI-424 card
(installs in the computer), via 6-pin IEEE
1394 cable. The PCI-424 supports cable
lengths of up to 50 feet. Long cable runs are
often necessary in studios where the computer is housed in a separate room than the
rack–mounted 2408MK3 audio interface.
◆ All
The PCI-424 is expandable to 96 active
inputs/outputs. It supports sample rates
up to 192kHz and provides DSP-driven
monitor mixing across 96 inputs
@96kHz with zero host buffer latency.
Cuemix DSP allows you to mix multiple
channels into multiple mix busses or
directly assigned outputs. Manage your
monitor mix with the Cuemix Console.
Cuemix Console provides independent
level and pan controls for each input on
every mix. And with CuemixDSP you
aren’t limited to four stereo mixes. You
can configure a unique mix for every
physical stereo output you have available.
This means you can have up to 48 separate stereo mixes on a 96 output system.
Additional Features
Legacy I/O Support
Dedicated front-panel five-segment level
meters for every analog input and output.
Separate front-panel volume knobs provide
independent volume control for the frontpanel headphone jack and the rear-panel
main outputs.
Across-the-board software compatibility —
the 2408MK3 ships with a complete set of
drivers for Windows 98SE/Me/2K/XP and
Macintosh and is compatible with virtually
all audio software on both platforms.
Core 2408MK3 system all includes
AudioDesk, MOTU’s sample–accurate
workstation software for Macintosh with
24-bit recording/editing and 32-bit automated mixing, processing and mastering.
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The CueMix DSP engine resides on the PCI–424 card, so it works across all interfaces connected to the card. The CueMix Console software provides an on-screen mixer that gives
users hands-on control of their monitor mix, regardless of what audio software they prefer
to use. Digital Performer users have the additional option of controlling CueMix DSP
directly within DP’s mixing environment.
The 2408MK3 is the first audio interface to
provide on-board video and SMPTE time
code synchronization features. This allows
you to slave your 2408MK3 system to video,
SMPTE time code or both - without a dedicated synchronizer. The PCI-424 card provides a DSP-driven phase-lock engine with
sophisticated filtering that provides fast
lockup times and sub-frame accuracy.
The 2408MK3 provides S/PDIF digital I/O
so you can exchange digital audio with a
wide variety of other devices. But the
2408MK3 takes S/PDIF one step further
than other systems by providing an extra
S/PDIF stereo output of the main mix. You
can use this extra stereo digital output for
whatever you want. For example, you can
leave it connected to a DAT machine so
that at any time you can record a stereo
mix of the project you are working on without having to swap cables with another S/PDIF device that may be connected.
The 24I/O is a single rack-space
96kHz audio interface for Macintosh
and Windows systems that fulfills the
promise of host-based hard disk
recording: to record, edit, mix process,
and master multitrack recording projects
entirely inside your computer. It provides 24
balanced 1/4˝ (TRS) 96kHz analog inputs and outputs
in a single rack-space enclosure, allowing you to connect and
record from 24 simultaneous analog sources. Like the 2408MK3, a
24i/o core system includes MOTU's next generation PCI-424 card, which
provides expansion up to 96 inputs/outputs, DSP–driven mixing and
monitoring, legacy I/O support, on-board SMPTE synchronization and Audiodesk
workstation software for Macintosh.
The 24I/O rack interface which is also available separately as an expansion I/O for 24i/o or 2408mk3 systems provides 5-segment
front-panel meters for every input and output and software-switchable (-10/+4) analog input levels.
The 24I/O's front panel is essentially a dedicated meter bridge for
your hard disk recording system. Audio activity for every input and
output is represented by its own five-segment LED bar graph.
Front Panel Power Switch
Useful in the unlikely event you wish to turn off your 24I/O. An
interesting fact about MOTU Audio interfaces is that they are hot
swappable. This means you can power off, plug-in, add and remove
interfaces without turning your computer off or restarting. In fact, if
you already have a 2408MK3 or other PCI-424 system, adding a
24I/O is as easy as plugging in an AudioWire cable.
24-bit analog TRS I/O
The 24 analog inputs and outputs are professional-grade 1/4˝ TRS
(balanced/unbalanced) connectors operating at either -10dB or
+4dB. The input level can be switched via software in banks of eight
inputs. In addition, CumixDSP provides continuously variable input
trim with up to 12dB boost per channel.
Word Clock I/O
The 24I/O audio interface provides industry standard word clock sync
on a single BNC connector that can be programmed for input or
output via software. When operating as a word clock input, the word
connector allows the 24I/O to synchronize smoothly with today's digital
audio studio. When operating as a word clock output, the word
connector can be used as a master clock to drive other digital devices in
your studio, such as a digital mixer.
Uses the second generation AudioWire introduced with the 2408MK3. It
is a high-bandwidth digital audio format capable of carrying up to 24
channels of 96 kHz digital audio in and out of the computer at the
same time. AudioWire can readily handle the 24 simultaneous inputs
and outputs of the 24I/O audio interface.
Power Supply
Comes with an internal power supply and standard detachable IEC
power cable. No wall warts or line lumps.
192kHz Audio Interface
for Mac and PC
A/D Converters
The most important link in the digital
recording chain is the A/D converter. It is
the critical component that converts your
analog input signal into digital information.
The higher the quality of the A/D
converter, the better your recordings will
sound. The 192kHz converters in the
HD192 are the same ones used in more
expensive HD systems. With 120dB Aweighted dynamic range and a THD+N of
0.0005%, the HD192 is simply the best
sounding front end you can buy for your
digital audio workstation.
Front Panel Power Switch
Useful in the unlikely event you wish to turn
off your HD192. An interesting fact about
MOTU Audio interfaces is that they are hot
swappable. This means you can power off,
plug-in, add and remove interfaces without
turning your computer off or restarting.
All 12 XLR inputs and outputs on the
HD192 rear panel support operation at 44.1,
48, 88.2, 96, 176.4 and 192 kHz and use
professional-grade XLR connectors
operating at +4 dB.
Word Clock I/O
The HD192’s front panel provides
dedicated 19-segment level meters for all
12 inputs and outputs. Two over meters
are included, a temporary over meter and
an over/hold meter that is resettable via
software. Comprehensive clock status
LEDs are also included so you can see at a
glance the current sampling rate and
clock source.
The HD192 features stereo AES/EBU digital
I/O with built in sample rate conversion.
This gives you the ability to integrate external digital audio sources, no matter what the
sample rate, while recording audio at higher
sample rates on the analog I/O of the
HD192. For example, you can still take
advantage of the 96-kHz digital I/O on your
favorite outboard reverb, while recording
audio at 192-kHz.
An industry-standard word clock input and
output allow the HD192 to synchronize
smoothly with today’s digital audio studio.
The word clock output can be used as a
master clock to drive other digital devices
in your studio, such as a digital mixer. The
AES digital I/O can be driven separately via
a dedicated word clock input. You can even
slave to a 48kHz clock source, even when
the HD192 is operating at 192-kHz.
Audio Wire
Comprehensive Metering
Designed for those who demand the very best audio
quality available, the HD192 is equipped with the
latest generation 24-bit, enhanced multi-bit 128x
oversampling 192kHz converters to achieve a
remarkable A-weighted signal-to-noise ratio of
120 dB with balanced XLR connectors throughout.
Ideal for surround applications, the HD192’s
12 inputs and 12 outputs can support two
simultaneous 5.1 mixes. And the HD192 is full of
advanced features, like AES/EBU I/O with sample
rate conversion both in and out.
The PCI-424 card introduced with the 2408mk3 is
192-kHz ready. Just connect the HD192 expansion
interface to record 192-kHz audio. The HD192 can be purchased as an
expander for an existing PCI-424-based MOTU Audio System, or as a core system which includes
the PCI-424 card and Audiodesk workstation software.
The HD192 uses the same second
generation Audio Wire as the 2408MK3. It is
a high-bandwidth digital audio format
capable of carrying up to 24 channels of
96-kHz or 12 channels of 192-kHz digital
audio in and out of the computer at the
same time.
Power Supply
Like all MOTU hardware products, the
HD192 comes with an internal power
supply and standard detachable IEC power
cable. No wall warts or line lumps.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
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Firewire Audio Interface with ADAT Digital I/O, Mic Preamps
and Sync
An affordable, FireWire -based
digital audio hard disk recording system for Mac (OS 9, OS
X) and Windows (ME, 2000,
XP), the 828MKII takes professional audio recording a leap
forward in portability and plug-and-play operation, With a total of 20 simultaneous inputs and 22 outputs, two built-in
mic pre-amps, zero latency monitoring, and the ability to synchronize to anything via ADAT sync, the 828 provides a complete studio in a box. Also included with the 828MKII is the acclaimed AudioDesk workstation software for Macintosh as
well as ASIO, CoreAudio, Sound Manager, GSIF, and WDM drivers for compatibility with your favorite software.
Eight 1/4˝ TRS bal/unbal analog inputs
and outputs using 24-bit / 96kHz converters. Input level can be switched between
+4/-10 for each input via software.
Two 24-bit 96kHz analog inputs, on the
front panel, using 1/4˝ / XLR combo
Neutrik connectors, accept either high
impedance quarter-inch inputs or low
impedance XLR microphone inputs. The
microphone preamplifers provide plenty of
gain and individually switchable phantom
power and variable trim.
Dual 1/4˝ Sends allow you to insert a compressor or effects processor into the two
front panel input channels.
Dedicated 1/4˝ TRS main outputs can be
connected directly to your powered monitor system.
Front panel 1/4˝ headphone jack
A dual function knob on the front panel
provides separate volume control over
main outputs and headphones.
Eight channels of 24-bit ADAT lightpipe
I/O (4 channels at 96kHz) — switchable to
stereo optical S/PDIF.
Stereo 24-bit / 96kHz coaxial S/PDIF I/O
Dual FireWire ports – one to connect the
828mkII to your computer and a second
port to daisy-chain more devices, including
additional 828, 828mkII and 896 interfaces
without the need for a FireWire hub.
The CueMix DSP mixer controls, on the
front panel, allow you to create up to four
stereo monitor mixes with 20 inputs each.
Mix to any four output pairs you wish.
Because the mixing takes place in the
828mkII itself, your computer’s processor is
free for other tasks.
The backlit LCD display provides an intuitive interface to configure your entire system. It even allows you to use the 828mkII
as a stand-alone mixer.
Front panel signal present LEDs for the
analog, S/PDIF and optical I/O, as well as
tach, lock status and clock rate.
9-pin sync input jack allows sample
accurate audio transfers with Alesis ADATs,
or any device that supports ADAT sync
MIDI I/O is provided for accessing a control surface or synth.
The dedicated 1/4˝ SMPTE I/O allows the
828mkII to resolve directly to an external
analog tape deck or video source.
◆ Word
clock input and output (BNC) provides synchronization with a wide variety
of digital devices or a centralized word
clock source.
A pedal input allows you to plug-in a
footswitch for hands-free punch-in
recording (software auto-senses pedal
polarity for easy setup
built in international power supply uses a
standard IEC cable. No noisy wall warts or
line lumps to keep track of.
Bundled Software
Includes drivers (ASIO, WDM, GSIF,
CoreAudio, Sound Manager) for all popular Mac and Windows audio software.
AudioDesk gives you all the advanced features you need to record, edit, mix,
process and master an audio project in
your Macintosh. It even includes MOTU’s
ground-breaking PureDSP time-stretching
and pitch-shifting technology and dozens
of real-time, 32-bit effects plug-ins.
CueMix Plus Monitoring Control Panel
The 828 gives you the ability to select an
input via software and mix it with the
main outputs inside the 828mkII to create
a no latency monitor mix. Because the mix
does not have to travel back to the computer, the result is delay-less patch-thru.
This mix is sent out the independent
main+monitor outs and headphones. You
can adjust the patch thru volume relative
to the main mix with the convenient front
panel monitor level knob.
96kHz Firewire Audio Interface
AES/EBU Digital I/O
Analog Outputs
AES/EBU digital in/out provides digital I/O
at any supported sample rate up to 96kHz.
Sample rate conversion is supplied on
either input or output. For example, it can
convert 44.1 kHz audio input to 96 kHz or
it can convert 96 kHz audio to 48 kHz.
Eight analog outputs on XLR connectors.
each equipped with 24-bit 128x “enhanced
multibit” D/A converters and their own
switch for either +4/-10dB operation.
In addition, the AES/EBU OUT can resolve
to the AES/EBU input while converting,
with the input serving as a clock source
only (not as an input source).
These two extra XLR outputs can be connected directly to a set of powered monitors. A front panel volume knob is provided
for convenient hands-on volume control.
The main outputs mirror the signal on outputs 1 and 2. In addition, they sum these
signals with up to two channels of live
input from a pair of inputs via the 896's
no-latency monitoring bus. You may
choose any two analog or AES/EBU inputs
(via software) as the monitor inputs. A separate knob is provided on the front panel
for convenient hands-on adjustment of the
live input level, relative to the main mix.
Each input is equipped with a 24-bit 64x
oversampling A/D converter, built-in preamp, front-panel trim knob, front-panel 48
volt phantom power switch and a rearpanel 3-way input level switch with three
settings: MIC, LINE and +4/FIXED.
The MIC and LINE settings provide frontpanel trim, while the +4/FIXED setting
bypasses the trim circuit for unattenuated
signals up to approximately +18dBu.
Together, the MIC and LINE settings provide a trim range of approximately 55dB
with some overlap. The LINE setting can
accommodate a -10 or +4 input signal.
MIC setting can be used for mics or unamplified instrument pickups (guitars, etc.).
Up to four interfaces can be daisy-chained
(connected one to another) on a single
FireWire bus (without a hub), providing 72
channels of I/O at 44.1 or 48 kHz. At high
sample rates (88.2 or 96 kHz), the ADAT
optical channels are disabled and two or
three interfaces can supply analog and
AES/EBU I/O for 20 to 30 channels of I/O,
respectively (depending on system performance).
A MOTU 828 FireWire audio interface can
also be connected to the second FireWire
jack of a MOTU 896. In addition, multiple
828s can be mixed and matched with multiple 896s using standard FireWire hubs
Main Outputs
Analog Inputs
Firewire Interface
Additional Features
Front panel volume control of monitor
input level on main outs
Front panel headphone jack with independent volume control
Extensive multi-segment front panel metering for all I/O and clock modes
Software-configurable peak and clip hold
Trim controls for all inputs on front panel
Front panel footswitch/punch jack
Word Clock I/O
I/O allows the 896 to resolve word clock via
a standard synchronizer such as the MOTU
MIDI Timepiece AV. Lock to SMPTE time
code, blackburst, video or other external
clock sources. Slave to word clock at halfor double speed. Send word clock at half
speed when running at 88.2 or 96 kHz.
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The 896 is a 96kHz Firewire audio interface for Macintosh and Windows. It provides everything you need to make great
recordings, all in a durable 2U
rack mountable package.
The 896 is expandable. Should
your needs grow in the future,
simply add additional 896 or
828 interfaces for more I/O.
The 896 is the perfect companion for your laptop computer. With eight built-in mic pre-amps with individually switchable phantom power and no-latency
CueMix Plus monitoring, you don’t need a mixer for
portable recording. Included with the 896 is the acclaimed
AudioDesk workstation software for Macintosh. Of course,
the 896 ships with Sound Manager, ASIO, GSIF and WDM
drivers for compatibility with your favorite software.
Multitrack Audio Recording Software — Bundled with all
MOTU Audio Interfaces
AudioDesk is a full-featured audio workstation software
package for Mac. This is not a watered-down “recordingonly” version of another company’s software. Instead, the
software provides all of the high-end features you’d expect in
a serious workstation application, like 24-bit recording and
real-time, 32-bit effects processing.
The software includes multi-track waveform editing,
sample-accurate placement of audio, a complete virtual
mixing environment with up to 64 stereo busses, automated
mixing, graphic editing of mix automation, scrubbing,
trimming, spotting, crossfades, support for third-party effects
plug-ins (in the MOTU Audio System and Adobe Premier
formats), unlimited digital track bouncing (including effects and automation), and much more.
Non-Destructive Editing
Real-time effects all of which are processed
with 32-bit, floating-point calculations.
◆ View
and edit all of your digital audio
tracks in a single, intuitive window
Because the effects are host-based, the
faster your Mac, the more simultaneous
effects you can use.
Graphically draw volume automation
curves and pan sounds from left to right
Select only the tracks you want to see or
show them all. Zoom in to work on fine
details or zoom out for a wide overview
- Up to 40 bands of parametric EQ per
- Dynamics Processing (expander,
compressor, limiter, gate)
- eVerb reverb plug-in (includes acoustic
- PreAmp-1 tube pre-amp simulator
(simulates tube warmth and presence, as
well as wild distortion effects)
- Chorus
- Echo
- Flange
- Autopan
- Tremolo, and more
Everything from simple dialog editing to
structuring complex musical arrangements
is as easy as playing with Lego blocks
Re-size soundbites (audio regions) by dragging their edges
Scrub digital audio to find exact start and
end points for edits
Split and trim soundbites to work with
smaller regions
Strip Silence works just like a noise gate
with adjustable threshold, attack & release
Crossfade lets you create seamless transitions between overlapping soundbites —
eliminating unwanted clicks and pops
More real time effects are available from
3rd party companies including Anatares,
Kind Of Loud, Waves, TC Works, Native
Instruments. The Adobe Premiere plug in
format is also supported
Copy and paste regions to repeat verses or
sound effects
◆ An
entire rack of outboard effects gear
right on your Mac —
◆ “Drag
and drop” audio regions from the
soundbites window to any editing window
for intuitive placement
Even import material from your favorite
sample CD-ROMs, then use any of
AudioDesk’s editing functions to
customize them for your music
OMF Export To Pro Tools
Mixing Board window gives you a virtual mixing console on your
computer screen.
Built in OMF integration tools allow you to seamlessly export your
project to a ProTools environment.
Ride faders and knobs during playback to record automated mixes.
Create snapshots of the entire mixer - or any portion of it - anywhere
in your sequence with the click of a button.
Save your fully automated mixdown for instant recall at any time,
and then create an unlimited number of alternate mixdowns - all
available from this menu for instant recall.
Besides copying audio data the OMF Export translates critical information such as session offset, audio region placement, and crossfades
(either rendered as audio regions or transferred as editable crossfades) is preserved.
Easily create fader automation groups with any fader as the master.
Each track has its own solo, mute and automation enable/disable
The Audio Layering feature lets you record into a track as many
times as you want and then have complete, intuitive graphic control
over all of the separate takes to build the perfect performance.
Instantly create customized board layouts — drag track strips anywhere you like, and show or hide any combination of tracks - or even
mixer sections (like the inserts section) - with a mouse click.
Audio Region Layering
◆ What
you see in the Audio Graphic Editor is always exactly what you
will hear.
◆ Any
number of custom Mixing Board configurations can be saved
and recalled at any time.
◆ Assign
Soundbite layering commands give you all the control you need to
manage even the most complex multilayered tracks.
tracks to plug-ins for real-time output processing.
Drag And Drop Ease
◆ AudioDesk
provides drag-and-drop consistency and ease throughout
◆ Add
markers to identify SMPTE hit points — grab a marker from
the marker well in the main tracks window and drop it right on the
time ruler.
Control any MMC-compatible (MIDI Machine Control) recorder
including Tascam DTRS, Alesis ADAT and others.
◆ Add
a sound effect or other bit of audio by dragging it from the
Soundbites list and dropping it in the main waveform display.
MMC devices will chase AudioDesk’s transports with frame-accurate
timing. Set auto punch-in and preroll times.
Quickly build a playlist of audio regions by dropping them in an
event list.
Analog Outputs (channels)
S/PDIF RCA (channels)
S/PDIF Optical (channels)
AES/EBU (channels)
Tascam TDIF (channels)
ADAT Lightpipe (channels)
Sampling Rates
44.1, 48,
88.2, 96K
44.1, 48,
88.2, 96K
44.1, 48, 88.2, 96,
176.4, 192K
44.1, 48,
88.2, 96K
44.1, 48,
88.2, 96K
Rack Spaces
AudioDesk is bundled free with all MOTU Audio Interfaces
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Faders can respond to any MIDI controller such as a volume slider or
pedal, modulation wheel or any data slider.
Analog Inputs (channels)
MOTU manufactures a wide range of MIDI interfaces for both Mac and Windows compatible computers to meet
the requirements of any MIDI Setup. Whether you are looking for a basic 2x2 interface or the ability to integrate
video, hard disk and tape based recording systems, MOTU has got you covered. And now, MOTU’s award-winning line of MIDI interfaces are available for those of you with USB equipped Macs and soon PC’s. Featuring easy
to use plug-n-play setup as well as hot swap capabilities that allow you to plug and unplug your interface even
when your computer is turned on. For even greater flexibility, you can mix and match any interfaces and even use
multiple interfaces connected to a standard USB hub. From the affordable FastLane to the top of the line MIDI
Timepiece AV, MOTU has a USB interface for every application and price range.
2x2 MIDI Interface for Mac & Windows
A professional MIDI interface for the home studio, FastLane installs in seconds and
opens your computer to a world of music software. And FastLane's unique advantage:
a MIDI thru button allows you to play to your gear even when your computer is
turned off-without having to disconnect cables. No other USB interface offers this feature for this price.
FastLane takes full advantage of USB, giving you increased MIDI throughput, better timing
accuracy, support for “hot-swapping” and plug-and-play expansion. Need to connect another sound module or synth? No problem.
Just add another FastLane via a standard USB hub. Or mix and match FastLane with another multi-port USB interface. FastLane
is specially engineered to operate with multiple USB devices, so your software will never lose contact with it, regardless of how
many times you restart your computer or how many other USB devices you connect.
Two 16 channel MIDI I/O ports provide 32
simultaneous channels of MIDI inputs and
outputs for USB-equipped Mac and
Windows 98/ME computers.
USB allows hot swapping and plug-and-play
expansion — add another FastLane to a
standard USB hub or mix and match interfaces to suite your needs.
Connects any MIDI (Musical Instrument
Digital Interface) device, such as a synth or
sampler, to the computer via USB.
MIDI Thru button splits MIDI signals
from each input to both outputs simultaneously allowing you to play a MIDI
sound module from a MIDI keyboard or
other controller even when the computer is
turned off.
Powered by its connection to USB — no
power supply or batteries are needed.
Four status LEDs indicate MIDI activity.
Compatible with both FreeMIDI and OMS
on the Mac
5-in/5-out MIDI Interface
The Micro Lite is a professional MIDI
interface that provides portable, plug-andplay connectivity to any USB-equipped
Mac or Windows computer. Features high-speed MIDI throughput, sub-millisecond
timing accuracy, support for “hot-swapping” and plug-and-play expansion. And,
powered by the USB port — no wall wart or AC plug required.
Five MIDI inputs and outputs provide 80 MIDI channels. Add additional MIDI ports by
plugging in another MOTU MIDI interface.
◆ Available
Includes drivers for Mac OS9, Mac OS X and Windows
in graphite, charcoal, indigo, red
and sage
Includes a USB cable and easy-to-install
software drivers on CD-ROM.
Single 2x4 MIDI/SMPTE Interface
This 2 in, 4 out 32-channel MIDI/SMPTE interface works with either
your Macintosh or Windows computer at a great price. Installs in
seconds and opens your computer to a world of music software.
Fully independent, paired outputs provide 32 separate MIDI
channels. And the Pocket Express's unique advantage in its price
range: a computer bypass button allows you to play your MIDI
gear even when the computer is turned off.
Compatible with all Mac and Windows MIDI software. Includes full SMPTE synchronization capabilities in all formats,
including jam-sync for trouble-free synchronization. And another Pocket Express unique advantage at its price: front panel
SMPTE controls for fast, convenient striping and lockup.
8-in/8-out MIDI/SMPTE Interface/Patchbay/Merger
The MIDI Express XT USB is a multiport MIDI interface and SMPTE synchronizer for Mac and Windows. Featuring 128
channels, the Express XT is ideal for medium-sized MIDI setups and essential tasks such as MIDI sequencing, multimedia
production, and sound management with patch/editor librarian software.
8 MIDI inputs and 9 MIDI outputs provide
128 MIDI channels via USB
Sixteen convenient one-touch front-panel
presets (8 factory and 8 user programmable) with memory backup for plug and play
Converts LTC to MIDI Time Code (MTC)
allowing you to sync your computer or any
other devices to SMPTE time code.
Converts and stripes SMPTE in all formats
(24, 25, 29.97 drop/non-drop, and 30 fps).
SMPTE jam sync with adjustable freewheeling for drop-out free sync.
Full support for MIDI Machine Control—
serves as either an MMC master or slave;
distributes transport commands to all other
MMC devices.
Pedal input for momentary foot switch or
audio click-to-MIDI conversion.
Internal power supply (no wall-warts)
8x8 MIDI merge matrix works as a standalone MIDI patchbay/merger processor. Bundled software console provides comprehensive routing, merging, and muting on your Mac or PC.
—Route any inputs to any outputs
—Merge any inputs to any outputs
—Mute any MIDI data on any cable
—Re-channelize on input and output
—Recalls setups via MIDI patch change
4-in/6-out MIDI Interface w/Sync
The Micro Express is
a mini version of the
MIDI Express XT. It
has all of the same
features as the Express XT - except that it is smaller and even more affordable.
The Micro Express is a half-rack unit with 4 inputs and 6 outputs for 96
MIDI channels.
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8x8 MIDI Interface/Synchronizer/Patchbay/Merger
Combine MIDI with ADATs, ProTools, or video. The MIDI Timepiece AV takes the world-renowned MIDI Express XT and
adds synchronization that you really need, like video genlock, ADAT sync, and word clock sync. Even Digidesign superclock!
Slave ADATs, Digidesign hardware or word-clock compatible devices to SMTPE and video. Drive your ADATs from your
sequencer without an Alesis BRC. Or control everything from an MMC controller like JL Cooper’s CuePoint. The MTP AV
pulls it all together for stable, centralized, hassle-free synchronization and MIDI networking. For Macintosh, Windows, and
stand-alone setups.
The MTP AV is also an 8x8 merger and router. You can merge any combinations of the eight inputs simultaneously to any
combination of the eight outputs. Because the MTP AV’s internal memory can be programmed from the front panel, the
MTP AV is the perfect choice for live performance applications where fast and flexible MIDI patching is essential. You can
take the MTP AV on the road because it can operate with or without a computer. The MTP AV can be set to change scenes
in response to patch changes, allowing remote control from any MIDI controller.
Takes full advantage of USB, giving you increased MIDI throughput, better timing accuracy, support for “hot-swapping” and
plug-and-play expansion. Need to connect another sound module or synth? No problem. Just add another MIDI interface
via a standard USB hub.
8 MIDI inputs, 8 MIDI outputs (128 MIDI
Networking offers up to 512 MIDI channels
Support for Mac and Windows in one unit it can even network Mac & PC to each other
8-in/8-out MIDI Interface
◆ Video
sync input - genlocks to video or
sync output - drives ADATs without a
◆ Word
clock sync output
Digidesign “superclock” output -drives Pro
MIDI Machine Control - controls everything, even ADATs, from an MMC
sequencer or LRC
Stripes frame-locked LTC onto video
Syncs ADAT with Pro Tools
Slaves ADAT, Pro Tools and your computer
to video
Provides 0.1% pullup/pulldown for digital
audio with video
Built from the same technology found in MOTU’s flagship MIDI Timepiece,
the MIDI Express 128 is a professional MIDI interface that provides plug-andplay connectivity to any USB-equipped Mac or Windows computer. Taking full
advantage of USB, MIDI Express 128 gives you high-speed MIDI throughput,
sub-millisecond timing accuracy, support for “hot-swapping” and plug-andplay expansion. Need to connect another sound module or synth? No problem.
Just add another MOTU USB MIDI interface via any available USB port.
Eight independent MIDI inputs and outputs for a total of 128 MIDI channels.
Includes drivers for Mac OS9, Mac OS X
and Windows Me/2000/XP.
Expansion is simple. Add additional
MIDI ports by plugging in another
MOTU MIDI interface.
Bus-powered from USB connection. No
additional power necessary, and no wall
wart or AC plug.
AT 349 W. 34th STREET (with purchase of $100 or more)
Digital Synchronization Hub
Universal synchronizer for SMPTE, digital
audio, and video systems
Supplies all components necessary for
accurate, stable synchronization: address
(SMPTE time code location and audio
sample number), time base (word clock),
and machine control (transport and cueing)
Choose any source as the time base master,
and the Digital Timepiece continuously and
simultaneously generates all other synchronization formats to drive all connected
devices in perfect phase lock
Sample accurate phase-lock during playback for all word clock devices, including
Sample accurate locating for all devices that
support it, including ADATs, DA-88s and
ADAT/DA-88 compatibles
Front panel selection of any time base
includes ADAT, DA-88, MTC, SMPTE
(LTC), Video (VITC), word clock (1x),
Digidesign “superclock” (Word Word
256x), S/PDIF, Control Track, or Internal
Generates extremely stable, high-resolution
time base with custom-designed VLSI technology and a proprietary high-frequency
phase engine
Fast lock-up time
No dithering, rounding, or software delays
for pristine sound
Eliminates the need for expensive synchronization add-on equipment, such as the
Digidesign SMPTE Slave Driver, Video
Slave Driver, Alesis BRC, Tascam SY-88
card, and more
Supports MIDI Machine Control - serves as
either an MMC master or slave, distributes
MMC transport commands from a
sequencer, or any MMC transport controller to all other devices, including SONY
9-pin VCRs, ADAT and DA-88
Proprietary control track sync format provides address, time base, and machine control - allows multiple DTP's to be synchronized together, also allows support for
future devices
Supported Devices
Alesis ADAT or any other ADAT-sync
compatible device (without Alesis BRC)
Tascam DA-88 and DA-38 (without an
SY-88 sync card or RC-848 controller)
Digidesign hard disk recording systems
such as Pro Tools III and Pro Tools
Project (without a SMPTE Slave Driver
or Video Slave Driver)
Any digital audio recording system
that can slave to (and, optionally,
generate) standard word clock
S/PDIF-compatible audio devices, such
as DAT decks and hard disk recording
cards like Digidesign’s Audiomedia III
- includes S/PDIF thru button on front
SONY 9-pin compatible video decks
MIDI Machine Control (MMC) devices
Computer software or any hardware
system that can slave (or generate)
SMPTE Time Code (LTC or VITC in
all formats, including 29.97 drop and
Video (VITC and Video Black)
Any devices that slave to (or generate)
MIDI Time Code (MTC)
44.1 or 48 kHz samples rates with 0.1%
Video Features
Supports SONY 9-pin
Video sync generator
Reads and writes VITC
SMPTE burn-in and status display
Sequencer-triggered streamers with fullscreen punch
0.1% pull-up/pull-down at either 44.1 or 48
KHz for drop-frame conversion
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The Digital Timepiece
synchronizes digital
audio equipment with
knife-edge precision:
MOTU 2408MK3,
Digidesign ProTools systems (without a VSD or SDD), Alesis ADAT (without a BRC), Tascam DA-88 (without an SY-88 or
RC-848), ADAT and DA-88 compatibles, SONY 9-pin video decks, word clock, S/PDIF DAT decks, Digidesign Audiomedia
II & III, NTSC/PAL video (all formats), computer software and digital audio workstations - including support for SMPTE
time code, VITC, MIDI Time Code and MIDI Machine Control.
Until now, phase-locked synchronization between these systems has been difficult or impossible. The Digital Timepiece is the
first synchronizer to lock them all together with a stable, high-resolution time base - with no dithering, rounding, or software delays. Choose any one device as the master; all the rest slave precisely and reliably. And drive everything from a MMC
controller, computer sequencer or digital audio workstation.
MIDI Device Editor/Librarian
The industry’s most popular editor/librarian, Unisyn provides the
most comprehensive sound management features available on the
Macintosh and Windows, including seamless integration with
Performer. You can modify a sound in Unisyn using graphic
envelope controls and faders, while getting instant feedback within
the context of your music as Performer plays the sequence.
Generate entire banks of new sounds with a click of the mouse
using Blend, Randomize, and Copy/Paste Parameter features.
Unisyn can even share bank names with Performer and other
FreeMIDI-compatible software for accurate pop-up sound lists.
Unisyn can store thousands of sounds at your fingertips and recall
them instantly using database-style search criteria, such as
“plucked electric bass” with “bright stereo flange”. Frustrated
because you can’t recreate the settings in your gear for last month’s
project? Unisyn can do it with a few clicks of the mouse.
Includes over 40 new devices such as the
Korg Triton series, Proteus 2000/2500,
Waldorf synths and Roland modules like the
powerful XV-5080.
Digital Performer users will feel right at
home with Unisyn’s new interface. Editors
have been updated to provide a clearer,
more easy to use layout of parameters.
Unlimited undo allows you to concentrate
on your editing, not on the software.
Intelligently manages removable media
Nearly everything is remembered between
sessions. You automatically pickup right
where you left off.
26 window sets provide a quick and flexible
way to manage window layouts.
Maintains links from parent files (for example, performances) with their associated
'children' (for example, patches) to make
managing your data a breeze.
‘Compare’ feature displays which parameters have changed and what the different
values are. Compare is “live,” keeping track
of your changes as you edit a patch.
Most profiles use a modular bank
upload/download system - which speeds up
your workflow by only downloading the
data that is required.
Existing profiles have been updated to take
advantage of Unisyn improvements such as
parent/child relationships, card/cartridge
management and hierarchical patch editor
Unisyn’s blend & mingle and randomize
features are combined into a full-blown
patch generator that generates hundreds of
patches at the click of a button (unrestricted
by the bank size of the device)
Snapshots group together all the individual
elements that used by your devices so
everything can be restored perfectly, even if
your MIDI setup changes. All the required
data resides inside a snapshot.
Improved pasting options allow you to
paste sections or groups of data from one
patch to another to greatly speed sound
All-purpose documents (formerly known
as libraries) can contain a mixed combination of patches, banks and snapshots, consisting of any type of data. The number of
items in the document is unlimited.
Unisyn allows you to assign any number of
keywords to a patch so you can locate
patches quickly and easily.
FreeMIDI is a complete MIDI operating system for Macintosh. It ships free and is automatically
installed with all MOTU audio software products. FreeMIDI is also supported by many third
party developers. (FreeMIDI developer kits can be downloaded from MOTU’s website).
FreeMIDI automatically detects what type of MIDI interface is connected to the Mac’s serial
or USB ports, automatically detects what MIDI devices are connected to interface (it “knows”
over 200 types of devices), and provides a graphical representation of their MIDI studio.
FreeMIDI also provides pop-up sound lists for over 100 popular MIDI synthesizers-as well
as generic support for any General MIDI device. It even includes advanced features such as
inter-application communication and multiple application real-time synchronization.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
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Trackless Sequencing and Instant
Notation Printing Software
A trackless sequencer with instant music notation, Freestyle is powerful, yet
easy to use so you have the freedom to concentrate on what is most important—your music. Create compositions intuitively using ensembles, players,
takes and arrangements. Get inspired with FreeStyle’s dozens of drum riffs.
Notate your performances as you play. See your music on screen exactly as
it will print. Get started quickly with built-in support for dozens of popular
MIDI instruments, including any General MIDI device. FreeStyle provides
both tape recorder and drum machine style composing.
Sense Tempo feature lets you sit down in
front of your keyboard and just start playing. No robotic metronome clicks. No
countoff. Just you and your inspiration.
FreeStyle records your every nuance - both
the notes you play and the tempos at which
you play them - at the highest resolution
available today in any sequencer.
FreeStyle also has a host of beat adjustment
features to produce optimum transcription
and musical editing
—With the Identify Beats feature, just click
on notes that occur on downbeats in the
graphic editor or notation window.
—Adjust Beats feature lets you drag barlines
and beats in FreeStyle's graphic editor to
match the notes below, scrubbing the
music as you drag so you can easily zero in
on the correct downbeat.
—With Record Beats you can simply tap
along with your rubato performance to tell
FreeStyle where the beats are.
— After using any combination of these beat
adjustment features, you can choose to listen to your music with its original tempo
and feel, or you can temporarily switch to
“Constant” tempo mode to hear it at a
perfectly straight tempo.
Change meter and key signature anywhere
in your music. If you're in a hurry, just
click on a barline to insert a meter or key
change there. If you want to map out a
whole section, use the Change Meter or
Change Key windows.
Draw, record and edit as many tempo
changes as you like
Add, duplicate, name and delete as many
different tempo maps as you want for a section - lets you freely experiment with different tempos
“% Variable” tempo mode: Speed up and
slow down your music with the tempo
slider, even if it already has an elaborate
tempo map
Name-able takes helps you keep track of
multiple takes for a player
Note spelling algorithms give you improved
automated transcription so you spend less
time fiddling with accidentals, while
manual note spelling adjustment gives you
complete control over note spellings
Score transposition–display a player in any
key you wish in your scores
Recording transposition–choose any transposition you wish while recording a
player– play in any key and have FreeStyle
transpose what you play on the fly
Tweak Notes (velocity, duration, scaling)
feature lets you make notes longer, shorter,
louder, faster - and other effects - in one
convenient step, while the music plays
Create tempo changes by moving the
tempo slider
Assign more than one sound to a player even from different MIDI instruments
Duplicate Take command copies the entire
contents of a take in one easy step
Override FreeStyle's dynamic channel
assignment feature for complete control
over your MIDI gear
Switch Staff command moves notes from
one staff to another on a grand staff in one
easy step
Support for QuickTime Musical
Instruments allows you to play music on
your Mac without a MIDI instrument
Change a player’s sound in mid-performance - even to an entirely different MIDI
Expanded MIDI file support—reads and
writes Type 0 and Type 1 MIDI files
SMPTE synchronization lets you slave
FreeStyle to your tape deck and record
vocals and other audio tracks in perfect
sync. Or lock FreeStyle to film or video. All
frame rates are supported. FreeStyle also
transmits MIDI Time Code (MTC), which
allows you to synchronize it with popular
hard disk recorders
MIDI Monitor window tells you what's
going on with your MIDI gear - and with
FreeStyle's MIDI output - at one glance
Visual Step Record lets you rapidly enter
and visually verify note data
Choose Notes command lets you select and
deselect notes based on their location,
pitch, duration and velocity
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Event List window displays any type of
MIDI data, from notes to system exclusive
data to Registered and Non-Registered
Parameter Numbers. Show or hide any
combination of MIDI data; Edit any data
parameter numerically; Scrub over the list
of data with the playback wiper; Fly through
consecutive edits with the arrow keys.
Universal Sampler Plug-In
A universal sampler plug-in for Mac and
Windows, MachFive supports all major
plug-in formats on both platforms (MAS,
VST, RTAS, HTDM, Audio Units and DXi)
and imports all major audio file, sample and
soundbank formats including AKAI, Kurzweil,
Roland, EMU, SampleCell, GIGA, EXS24,
HALion, Creamware, WAV, ACID, AIFF,
SDII, REX and more. MachFive also offers
many advanced sampling features, including
support for 192kHz and the ability to
import and playback multi-channel samples
in surround.
MachFive operates inside application such as
Digital Performer, Pro Tools, Logic Audio,
Cubase, Sonar and virtually any major
application for Mac and Windows. This
allows MachFive to be employed as a flexible,
state-of-the-art sound source directly within their projects and then save all MachFive settings with the project for instant
and total recall. Since all MachFive settings are saved with their host application session, you enjoy the highest degree of
convenience and speed because there is no separate application or associated documents to manage.
As a plug-in, MachFive displays all editing
and performance parameters in one window,
showing users everything in one glance,
without the need to flip through different
pages or dig through menus.
With unprecedented compatibility and interoperability, MachFive is a truly universal
software sampler. It supports every major
production platform on Mac and Windows
(MAS, VST, Audio Units, HTDM, RTAS and
DXi), so you can effortlessly move from one
platform to another —or collaborate with
those who use different audio software.
For example, a user might compose and
track a project in Digital Performer or Logic
and then move to Pro Tools for mixing. The
user would simply save a MachFive performance (a snapshot of all MachFive settings) in
DP or Logic and then load it into MachFive
running in Pro Tools. All settings are exactly
preserved, and MachFive is ready to go.
Compatible with all
Sample Libraries
MachFive includes UVI-Xtract, an import
utility that allows users to audition and load
programs and samples from every major
sampler format, including Akai, Roland,
Kurzweil, SampleCell, HALion, EXS24,
Gigasampler and others.
UVI-Extract even allows users to insert
sample content CD-ROMs from Roland,
EMU, AKAI and other formats into their
computer — discs that otherwise cannot be
mounted on their computer desktop — and
then convert programs (or even the entire
disc) in just a few clicks.
MachFive helps users consolidate their
current sound libraries into a unified
MachFive library, instantly accessible from
within their host application.
Flexible Multi-Timbral
Open as many MachFive plug-ins as the
host CPU permits. Each plug-in instance of
MachFive provides 16 parts (separate
instruments). Each part has its own unique
audio output assignment, volume, pan, etc.
Each part can receive MIDI data from any
channel and send its output to unique
audio outputs (depending on the host
audio software).
Simple stacks can be created by assigning
two or more parts to the same MIDI
channel. However, MachFive also provides
Expert Mode, which lets you create
complex layers and splits that can be
dynamically triggered and modified on
the fly. Expert Mode was designed for
demanding live performance situations.
24-bit 192kHz Audio
Integrated Multi-Effects
MachFive takes advantage of high definition
audio interfaces like the MOTU HD192,
allowing users to build their sound libraries at
any sample rate up to 192kHz. MachFive also
provides on-the-fly downsampling, allowing
users to build a high-resolution sample
library and use it at any sample rate that their
current project calls for, without the need for
lengthy sample rate conversion operations.
Each multi-timbral part can have up to four
unique effects, for up to 64 effects per
performance with instant recall, including
reverb, tempo-synced delay, tremolo, chorus
(and other modulation effects), filter,
BitCrusher, and others. All effects settings are
saved for total recall. Users can also save
effects with each preset for permanent storage
in their sound library. The effect section
allows users to leave a part's effects in place
while they audition other parts.
Powerful Synthesis Engine
Waveform Editor
MachFive accepts audio samples in all
formats from mono to 5.1 surround. The
waveform display allows truncating, normalizing, fading and many other destructive DSP
audio manipulations — all in real time. Users
can even set the crossfade of a loop in real
time while listening to their full mix.
Analyze and Tune
Drag & Drop
Import of Samples
MachFive is a one-stop sound design factory,
with tools such as a graphic spectrum
analyzer and a built-in tuner with graphic
display. When importing samples, you can
even ask it to analyze the sample, determine
its pitch and assign it to the appropriate
keymap pitch.
Users can simply drag samples from their
computer desktop or host application to the
MachFive keyboard. Users can even drag
multiple samples in one step to map into
layers or splits, chromatically, on white keys
only, according to their name, or even
according to their pitch, which MachFive can
determine automatically. Users can also
audition samples when importing them,
listening to each note as they stretch the
sample over a range of keys.
Four LFOs are available per preset: two that
can be applied across a preset's entire
keygroup, plus two additional LFOs that can
be applied individually to each sample. Each
LFO can be routed to an assortment of
destinations including filter frequency, filter
resonance, drive, pitch, pan and amplitude.
MachFive can sync both the LFO and effects
parameters to sequence tempo.
MachFive Specifications
Modulation and Tempo Sync
Import Formats
Compatible Audio Formats
Soundbank Import Formats
Kurzweil K2xxx
mono to stereo
mono, interleaved
(2, 4, 6 channels)
Akai S1000 / S3000
Akai MPC .snd
mono to quad
Akai S5000 / S6000
Creamware Pulsar .s
mono to 5.1
Separate files: 2 (stereo),
4 (quad), and 6 (5.1) channels
Akai MPC2000 / MPC3000
Roland S7xx
stereo to quad
stereo to 5.1
quad to 5.1
mono, stereo interleaved
Separate files: 2 (stereo),
4 (quad) and 6 (5.1) channels
Tascam GigaSampler/GigaStudio
WAVE: mono, stereo interleaved
Emagic EXS24
WAVE: Separate files: 2 (stereo),
4 (quad) and 6 (5.1) channels
Digidesign SampleCell
Creamware Pulsar STS
Plug-in Formats
Audio Units, DXi
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The central section of the MachFive window
shows the filter, three envelopes and every
modulation tool. Six filter algorithms are
provided and everything can be controlled
and automated by MIDI. Modulation options
are provided at every stage of the synth section. The award-winning UVI-Engine that
powers MachFive delivers unlimited
polyphony and ultra-low latency.
Surround-capable Sampler
MachFive is a true surround sampler. Users
can play and transpose 5.1 audio files in real
time, add multi-channel effects and route
multi-channel presets to their host software’s
mixer with multiple outputs (if the host software supports these surround features).
Intelligent File Management
The most critical feature users need from a
sampler is easy access to their sounds.
MachFive offers unprecedented sound bank
management, helping users concentrate on
their music — not file handling chores on
their hard disk. MachFive always remembers
where sounds are located, and it has been
optimized for browsing and loading libraries.
Even multi-gigabyte libraries are quickly and
efficiently scanned.
Professional Music Creation and
Production Software
The Cubase legacy continues with Cubase SL and Cubase SX — the most
advanced and powerful versions of Steinberg’s renowned Virtual Recording
Studio software to date. Designed from the ground up to take advantage of
the latest breakthroughs in processor and operation systems technologies
including WindowsXP and Mac OSX, both Cubase SL and Cubase
SX provide the potential for recording and playing back an unlimited
number audio tracks (up to 96kHz) and MIDI tracks and feature a
comprehensive suite of advanced editing facilities, realtime effects,
mixing and automation facilities. Both applications support realtime
VST 2.0 effects plug-ins and virtual instruments, and low-latency,
multi-channel ASIO 2.0 compatible audio hardware allowing you
to outfit your computer-based recording studio to suits your specific
requirements. VST System Link functionality allows several
computers to be linked together and actually perform as one fully
integrated system. Cubase SX adds comprehensive 5.1 surround
sound support, complete score layout features and a wider range of
automation modes.
Native audio – no expensive additional
outboard equipment is required to record
and playback audio. Plus ASIO soundcard
support for low latencies.
Up to 200 or more simultaneous playback
of Audio Channels (cpu dependent)
Recording multiple channels of audio
and configurable track mixer
selectable (wide/narrow) views.
◆ Up to 64 Group Channels with access to
the same audio effects and EQ as normal
audio tracks.
◆ Sample accurate automation with automation tracks for every audio, group track
and plug-in.
Support for 16-Bit, 24-Bit and 32-Bit float
audio files at sample rates of 44.1 kHz, 48
kHz, 88.2 kHz, and 96 kHz.
Record of AIFF, WAVE and Broadcast
WAVE files, (Sound Designer II for Mac)
Non-destructive Part Editor
Destructive rendering of virtual effect
processors into parts from the Project
Window (with process history).
◆ Very
quick and efficient parts bouncing
Simple ‘Drag-and-Drop’ functionality
means allows objects to be moved quickly,
not just within projects, but also between
multiple projects.
Mixing and Automation
◆ Adaptive
VST Effects and Instruments
Includes a wide range range of professional
real-time VST effects and (VSTi) virtual
◆ Supports virtual instruments with multiple
outputs (VST 2.0 standard)
Unlimited MIDI tracks and multiple MIDI
recording modes: Cycle, Mix, Overdub,
Step, Punch.
Sample-accurate timing for MIDI-events.
For ease of use the displayed musical resolution is set to 480ppq. If you need a higher resolution for your editing needs you
can simply switch to sample resolution.
◆ A wide range of MIDI editors are provided
including: Key (piano keyboard); Drum;
Event List; SysEx and Logical. Cubase SX
adds professional Score editing.
Supports high-precision MIDI timing
when using an LTB compatible MIDI interface such as Steinberg’s Midex 8.
Tempo Track allows you to control song
tempo using a graphic editing interface.
Sample Editing
Destructive Sample Editor with offline
process history.
◆ Sample accurate zoom and in-place editing
of audio directly in the Project window.
◆ Automatic tempo matching of audio loops
with integrated Slice and Stretch functions.
Sends MIDI clock and send/receive MIDI
timecode (MTC).
Extensive control surface support including
Steinberg’s own Houston, Mackie Control,
Yamaha Digital Mixers, Radikal
Technologies SAC-2.2 and more.
Point and click on
these icons to access
the five most common
editing windows
within a project –
the inspector pane,
project overview,
object parameter list,
audio pool window
and project console
The Project Window – provides an overview of the entire project area and allows real-time recording,
playback placement, editing and automation of audio and MIDI. You can move, nudge, fade in, fade
out, change volume, or crossfade parts directly from the Project Window with great ease and efficiency.
These tools allow you to edit and arrange single or multiple objects within the project window:
• The Arrow Tool – Sizing, Time Stretch, Sizing Moves content
• Range Tool (both A and B selection)
• The Pencil Tool lets you draw controller and automation data (freehand or grid based) using
5 Modes – Draw, Line, Sine, Triangle, Square
• Scrub Tool has 2 Modes – tape-style Scrub and position Play
• Other tools include – • Glue Tool • Erase Tool • Magnifier Tool • Mute Tool
The most common
Transport Controls – stop,
play, record and loop
The Grid and Quantize is adjustable down to
single sample resolution
There are 5 Grid modes to choose from –
Grid, Event, Magnetic, Cursor and Shuffle
Timeline Ruler
Option Positions and
lengths displayed as:
Bars+Beats –
Bars|beats|sixteenth notes
and ticks
(120 per 1/16 note)
Seconds –
Hours, minutes, seconds
and milliseconds
SMPTE Frame (Hours,
minutes, seconds & frames)
– 24, 25, 29.97, 30 fps as
well as 29.97 and 30 dfps
Samples – Samples
Track Inspector
Provides instant access
to any parameter of the
currently selected audio
or MIDI track.
Each component of a
channel’s mixer is
displayed as a folder
that can be expanded to
reveal that components
parameters – add
insert-effects, adjust aux
sends, pan and volume
and more, without
calling up the mixer
Supported Audio Formats
Import of AIFF, AIFC, WAVE, Broadcast
WAVE, WMA, MP3, REX files as well as
SDII on Mac.
◆ Export audio to MP3, RealAudio G2, AIFF,
Broadcast Wave and WAVE, as well as
Windows Media Audio and Real Audio V5
on PC and SDII on Mac.
◆ Import/export files with sample rates of up
to 96kHz depending on format.
Supported Video Formats
editable crossfades
Video Functions
As working in sync with the picture is an essential demand for film scoring, Cubase does not only
allow playback of video files within a video window, it also provides you with a thumbnail video
track for fast and easy composing to the picture and placing musical events at takes and frames.
Unlimited Undo/Redo with Offline Process History
Off-line processing of individual audio files
allows effects to be ‘stamped’ onto them
layer after layer. The off-line process history,
allows you to jump back to any individual
process such as the reverb and edit it,
remove it or replace it with another effect.
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All Event based
information such as
Part Name, Start and
End Points, Length,
Offset, Snap, Volume
and Fade-info is
shown within the
object parameter
Project Overview
Provides quick and easy
access to any location
within the project window
– the smart cursor allows
you to click and drag on
the bottom of the overview
to navigate to the specific
area of the project you
want to access or click and
drag at the top of the
overview to zoom select a
new zoom value of the
project window.
EQ, Insert, Aux sections of
Channel strip can be bypassed
fast and individually
Each channel within the mixer has 4bands of parametric EQ, 8 insert points
for plug-in effects and 8 aux sends
The Master Section features 8 insert
slots plus dithering using Apogee’s
UV-22 HR algorithm
The extended view adds a top
zone to the standard size mixer
that adds an upper zone where
you can switch between views for
EQ and aux-send or insert effects
per channel or globally.
Global Solo/Mute and automation
Read/Write buttons
Complete channel setups can be
copied and pasted between
channels or even saved to disk and
loaded into new projects – a great
way to create a custom library
of multiple effects or virtual
instruments with effects.
Select the type of channels you
want to view in the mixing
console – audio, group, virtual
instrument, ReWire and MIDI
Click the Edit button to open
the Channel Settings window
(detailed below)
Mixer channels can
be switched between
mono or stereo
Any combination of mixer channels can
be freely grouped or sent to one (or
more) of up to 64 sub group channels.
Hardware Control
Surface Support
Channel Settings Window
4-band fully parametric EQ with variable frequency (20 to 20k
Hz), gain (±24db) and Q per band–
Bands 1 and 4 are switchable between Shelf, HPF, LPF and Bell
Bands 2 and 3 has a Bell curve
These 8 Aux Sends can be routed
to the FX rack, Groups or Bus outs.
Of course,
Cubase is
fully compatible with
surface which
allows you to
grab hold of the virtual world of Cubase
with physical knobs, buttons and faders.
Features such as transport control, scrub,
fast forward, rewind, track muting, track
arming, control over plug-in parameters
and full moving-fader control over your
mix are just a few of the possibilities.
Pan control
volume faders
with 15-bit
and 2 decimal
Up to 8 effects inserts are available for each audio channel
Save and load EQ presets
The response time of the meters
is adjustable (fast/slow/hold)
AT 349 W. 34th STREET (with purchase of $100 or more)
wide number of 3rd Party remote controllers are supported including devices
made by Mackie, JL Cooper, CM
Automation, Radikal Technologies, Roland,
Tascam, and Yamaha.
VST Realtime Effects Processors
Steinberg’s Virtual Studio Technology (VST) interface allows the seamless integration of virtual effect processors and instruments into your
digital audio environment. These processors run the gamut from software emulations of classic hardware effect units and instruments to
never-heard-before creative processors. All functions of a VST effect
processor or instrument are directly controllable and automatable.
A complete suite of Steinberg VST effect processors is included with
Cubase SL and SX and because VST is an open standard, new virtual
effect processors and virtual instruments are constantly being
developed by Steinberg as well as numerous third party companies
including Antares, Waves, Waldorf, Native Instruments, IK Multimedia
and many more.
DirextX plug-in support is also available on the PC
Included VST Effects Processors
Reverb 32
Ring modulation
SMPTE Generator
6 to 2 Mixer
Multitap Delay
Classic Delay
DeEsser by SPL
MIDI Plug-in Effects
VSTi (VST Instruments)
Instruments are software synthesizers and sampler that are
loaded into Cubase just like standard VST plugins.
instruments can be triggered via MIDI, just like their hardware
counterparts, and their audio outputs appear on separate channels in
the Mixer, allowing you to add effects or EQ, just as with audio tracks.
Included VST Instruments
number of realtime MIDI effect plug-ins are included for
transforming and generating MIDI events in a variety of ways.
MIDI effects can be applied in real time to the MIDI data played
back from the track or can be inserted while playing live on your
MIDI keyboard - an inspiring performance tool
Just like any other parameter in the Cubase mixer, MIDI plug-ins
can also be fully automated.
MIDI Plug-ins Effects Include: Arpache (Arpeggiator), AutoPan,
Chorder (create chords from single keys), MIDI Echo, Microtuner,
Quantize, Step Designer (step sequencer), MIDI Compressor, and
many more.
ReWire 2.0 Support
Three VST instruments are included and numerous others can be
purchased separately from Steinberg and third party manufacturers.
A1 – Analog Synthesizer Unit developed by Waldorf
VB1 – Bass Emulation Unit
LM7 – 24- Bit Drum Sampler Unit
Stream up to 64 audio channels between ReWire compatible
applications, such as Propellerhead’s Reason and Rebirth, and
Cubase with sample accurate synchronization. Audio outputs from
the ReWire compatible application are connected via Rewire to the
VST mixer, allowing VST Effects, EQ and Dynamics to be applied
in real time. MIDI-streaming between applications — the ReWire
application shows up in Cubase as a MIDI out port, ready to
trigger. Use Cubase to control the ReWire apps transports.
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Sample Editor
Even though you can do most of your editing directly within the Project window, an integrated Sample Editor is included for editing mono
and stereo audio files. The Sample Editor allows viewing and manipulating of audio data at the Audio Clip level. Functions such as cutting
and pasting, removing or drawing audio data is fully “non-destructive”, in the sense that you can undo changes or revert to the original versions at any point, using the Offline Process History. Any audio clip can be permanently edited and changed with full backup, plus multilevel undo and redo. A number of integrated non-destructive audio processes are provided for optimizing and even resynthesizing audio
files: Acoustic Stamp, Crossfade, Envelope, Fade-Ins and Outs, Gain Change, Normalize, Phase Reverse, Pitch Shift and Timestretch, DC
Offset removal, Reverse and Stereo Flip.
Sample Editor tools include: the selection tool for creating regions within an audio clip; the magnifier tool;
The Pencil tool allows you to to manually edit out a spike or click; and the Scrub tool which allows you to
locate positions in the audio by playing forwards or backwards at any speed.
The Thumbnail
display provides
an overview of the
whole Clip.
All regions created from an
audio clip are shown with
their name, start and end
positions in the Regions List
display. You can audition
regions and drag and drop
them directly from this list
into the Project window.
Regions can also be exported as audio files
Regions allow you to define
important sections within
an Audio Clip. Regions can
be dragged into the Project
window from the Editor or
the Pool.
The Info Line shows all
relevant information
about the edited
Audio Clip.
The Loop Editor allows you to
automatically match the of an audio
phrase or loop to your song’s tempo
by applying time compression and
expansion to short audio-segments
contained with the audio file.
◆ Audio segments can be created
automatically or by manually — the
phrase or loop is analyzed and then
segments are generated using the
audio file’s transients as markers.
◆ You can then make tempo changes to
your song in real-time and your
audio playback will follow.
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Use odd meters and loops of
unlimited length when mixing.
◆ You
can combine a number of loops
with different feels and tempi and
conform them to your song’s tempo.
Match the groove of MIDI tracks to
looped audio or vice versa. Quantize
the groove of looped audio.
Re-arrange grooves by exchanging
single samples inside your loop.
The Loop Editor is also provides an
easy auto cutting and match quantizing of single words from vocals takes.
MIDI Editing
Each sound or notepitch can have its own
settings for Quantize, Output and Channel.
The Drum Editor also provides access to
the same Multi Lane Controller Editing,
Mathematical Curve and Step Recording
functions found in the Key editor.
The Key Editor / Piano-roll Editor features
many standard functions for manipulating
MIDI note and event data. You can Draw,
Move, Copy, Delete, Mute, re-Size,
Transpose and change Velocity for noteevents.
The Multi-Lane Controller Editing functions allow simultaneous editing of various
controller data sets at the same time.
The Mathematical Curve Function (such as
parabola, sine, triangle, square) allows you
to draw precise Controller data curves
quickly and easily.
Step Recording allows recording events offline by inputting notes via MIDI-in at the
start position and automatically stepping
these to the next Grid point (e.g. 1/16th).
This allows the easy creation of musical
lines that are difficult or impossible to play.
The List Editor allows all data (MIDI,
Audio events, Automation, etc.) to be
edited numerically.
It provides an overview of the whole
project so that you can easily browse
through all of the project’s tracks. This
allows very precise control when adjusting
the ‘fine detail’ like sample-accurate
positioning of multiple data types.
The event display shows the events
graphically while the value display shows
the “value” of each event, allowing for easy
viewing and graphical editing.
The information available in the List
Editor Includes: Event Type; Start and End
position; Length; Data 1 and Data 2 (eg.
pitch and modulation); Channel and
Single and multiple events can be muted
and unmuted using the dedicated Mute
Logical Editor
The Logical Editor allows you to find
certain MIDI events, based on defined
criteria and conditions. You can then
manage and edit this data using the list of
available actions.
◆ Applications
range from simple MIDI
event filtering to complex tasks such as
changing the scale of a piece of music from
minor to arabian.
Steinberg Technology
VST System Link
(Audio Stream Input/Output) is a
high performance, low latency audio driver
architecture that forms the backbone of
Steinberg’s Virtual Studio Technology.
ASIO was developed to deliver a truly
professional audio recording solution —
one that supports variable bit depths and
sample rates, multi-channel I/O and
synchronization — all within a native
computer environment.
is a supported standard by many
leading audio hardware manufacturers
including MOTU, M-Audio, Tascam,
Edirol, Steinberg and many more.
VST System Link is a platform independent
communication protocol that provides
sample accurate networking of several
computers running VST System Link-compatible host applications including Cubase
SX, Cubase SL and Nuendo. It enables synchronization, transport control and audio
data between two or more workstations
over standard digital audio cabling systems
such as ADAT, TDIF, AES/EBU or S/PDIF.
Expandability, Flexibility and connectivity
for your virtual studio — exploit the DSP
resources of multiple computers within a
single project.
Accurate MIDI Timing
with LTB
LTB (Linear Time Base) is a multi-channel
communication protocol which offers
sub-millisecond MIDI timing accuracy.
LTB is a MIDI Time Stamping technique
that bypasses the computer’s operating
system and thus significantly reduces latency.
LTB is utilized by the MIDEX series of
hardware MIDI USB interfaces to offer the
lowest latency of any MIDI interface
Supported by Cubase SL and SX as well as
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The Drum Editor features standard editing
functions (Draw, Move, Copy, Delete,
Mute, Size, Transpose note-events, Velocity
and Controllers) as well as Drum Map
support allows you to assign sound names
(eg. kick, snare) to notes.
List Editor
Drum Editor
Key Editor
Cubase SX AddsComplete Scoring
TrueTape Recording Technology Tape Saturation
◆ While
digital audio recording has a number
of benefits, some may perceive digital sound
to be somewhat “sterile” and “cold”
compared to high quality analog recordings.
The TrueTape algorithm remedies this by
recreating the desirable warmth and
compression sounds of analog tape saturation at the recording stage using Cubase’s
high resolution 32-bit floating point format.
TrueTape is a unique Steinberg technology
that emulates the behavior of a professional
analog tape recorder.
The Drive control allows you to adjust the
amount of tape saturation effect to your
Surround Sound
Advanced Time Stretching
There are five different Quality modes
available for time stretch: Quick, Standard,
High, MPEX, and Drum.
The MPEX Quality mode is based on
Prosoniq's (Minimum Perceived Loss Time
Compression/Expansion) algorithm which
uses an artificial neural network for time
series prediction in the scale space domain
to achieve high end time and pitch scaling.
Cubase SX supports up to six-channel
surround sound with a configurable
speaker set-up - allowing the user to adjust
to his specific studio configuration.
Supported surround formats in the Master
Setup include: Stereo; Quadro; LRCS;
Standard 3/2; and 5.1
The Time Stretch function allows you to
change the length and “tempo” of the
selected audio, without affecting its pitch.
Drum mode is a special algorithm
developed by Spectral Design, optimized
for processing rhythmic material.
Apogee UV22HR Dithering
The UV22 HR is a high quality dithering plug-in
based on an advanced word length reduction
algorithm developed by Apogee.
◆ You
can use the UV22 HR plug-in whenever you
need to take your audio from the 32-bit float
resolution within Cubase to lower bit resolution,
especially when exporting/converting to 16-bit
resolution for audio CD burning.
Cubase SX includes all of the scoring and
playback features of Cubase Score VST,
which for many years has been one of the
industry standard software applications
used for film soundtrack production and
music education. This is because of its perfect integration of score writing, sequencing and music production.
◆ 32 staves per page
◆ 8 voice polyphonic
◆ Page layout and editing
◆ Drum notation & guitar tablature
◆ Over 100 symbols
Spectrum Analyzer
The Spectrum Analyzer function analyzes
the selected audio, computes the average
level distribution over the frequency range
and displays this as a two-dimensional
graph, with frequency on the x-axis and
level on the y-axis.
TrueTape recording technology for tape saturation
Up to 64 sub-groups with the same EQ
and effect features as a normal audio channel
Offline Process History
Cubase SX
Wide and narrow view
Wide, narrow and freely
configurable extended view
Plus DeEsser by SPL
Touch Fader
Touch Fader, X-Over
and Autolatch
Apogee UV22HR
Apogee UV22
For built-in audio processes
Very quick and efficient parts bouncing
Huge selection of integrated audio processes
Spectral Analysis
Statistic Functions
Audio/Tempo analysis and Audio/Groove analysis
Slice & Stretch for audio loops, automatic tempo matching
Pitch-shifting / time stretching algorithm
CD audio grabbing
ReWire 2 support
Full MP3 Fraunhofer Encoding
Recording modes: Mix, Overwrite, Normal, Merge
Editors: Key (piano keyboard), Drum, List, SysEx,
Score, Logical
Professional Score layout and printing functions
Supports LTB for high-precision MIDI timing
Soft Quantize
Supports Steinberg MIDI plug-ins
3 different modes
Available as an upgrade
For built-in audio processes
and all plug-ins
*CPU dependent
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Supports 6 channels surround sound
Effect Insert Slots per Channel
VST Instrument Slots
Includes VST Instruments such as A1 Virtual-analog
Synth Unit powered by Waldorf
Includes professional real-time VST effects
Sample accurate automation with automation
tracks for every audio, group track and plug in
Automation modes
Cubase SL
Interactive, real-time graphic editing
Unlimited Undo and Redo functions
VST System Link
Best compatibility with Houston controller
Video track with Thumbnail Preview
Various Project Templates included
Cubase VST 5.x song import
Native audio – no expensive additional
outboard equipment required
Simultaneous playback of hundreds of audio tracks *
Adaptive and configurable track mixer
Motorized Control Surface for Cubase and Nuendo
A MIDI/USB remote controller designed specifically for the
VST audio engine, Houston provides access to potentially
every parameter available in VST windows. It features a
total of nine 100mm touch sensitive motorized faders, eight
rotary encoders with LED position indicators and a matrix
of buttons bringing total hands-on mixing within Nuendo or
Cubase, without having to use the mouse or PC keyboard.
Additionally it offers a large LCD display, transport controls,
and a jog & scrub wheel. A numeric keypad is available for
entering values and for selecting setups and marker positions.
The ultimate controller for Steinberg’s virtual studio,
Houston is also extremely fast and flexible with all basic
parameters displayed at the push of a single button.
Houston uses an all-for-one or one-for-all
layout meaning that both the display and
related rotary encoders are showing the
same parameter for all eight channels or
eight related parameters for one channel.
Parameters for VST audio effects and VST
Instruments can be displayed, edited and
automated from the Houston’s controls.
A compact desktop unit (same width as a
standard PC keyboard), Houston connects
to the host computer via MIDI or USB.
Illuminated function matrix clearly indicates the current display and all basic VST
parameters. If a set of related parameters
require more than a set of eight controls,
the page up and page down buttons let you
jump to the additional parameters. And
since you always stay in the context of the
selected function group, it isn’t necessary to
repeatedly press buttons to scroll through
all available parameters. With two button
pushes you gain access to virtually all VST
function groups.
Houston supports the mixer views and
windows sets of both Cubase and Nuendo.
It is possible to open and close windows
completely remotely, and to change the
currently addressed set of eight channels—
and these can be any of the VST audio
channels regardless of whether they are
audio, group or synthesizer channels.
Song and edit buttons to easily save a song
or revert to the last version, undo/redo the
last action, confirm, cancel and deny
actions in open dialogs and windows.
Number pad for general purposes plus
buttons for quickly accessing windows sets,
marker positions, etc. For even greater
comfort, the ZAP button lets you toggle
between the two last functions.
Fader section with nine motorized faders.
A number of option buttons let you switch
between the different target faders within
the host application and select fader sets.
You can also jump back and forth between
the available sets of eight channels each.
Transport Controls and Jog Dial for full
and easy navigation within your song.
Rear panel with MIDI trio and USB port.
Houston lets you freely choose whether it
should communicate with your host application via MIDI or USB.
What are the differences between Cubase SX and Nuendo?
Cubase SX is clearly a music creation and production program, with audio and MIDI features
specifically designed for these activities such as the Drum Editor, Score Editor and a newly
designed Audio Loop Editor. Multi-lane Controller Editing is provided offering complete
control over the playback characteristics of all MIDI and VST-I equipment used. MIDI
plug-ins and enhanced MIDI processing functions are now standard and we have built in the
support for loading up to 16 Virtual Studio Instruments simultaneously. Extensive groove and
swing functions are designed specifically for easy handling of rhythmic musical elements and
excellent automation control is built in so you can create the perfect final mix.
Nuendo, on the other hand is designed as a media-production system. It can handle
post-production, DVD authoring, music recording and many other types of specialist
production tasks. It features tools such as Sony 9-pin support, OMF-Import, replace audio in
video file, get audio from video file, Premiere EDL import and independent project pools, to
name just a few. Other features are the Matrix Encoder/ Decoder plug-in as well as support for
Dolby and DTS Encoders.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
USB MIDI Interface with LTB Technology
Numbered MIDI port
LEDs provide a clear
overview over your MIDI
set-up. Midex 3 and
Midex 8’s comprehensive range of functions is rounded off by the relay-controlled MIDI Thru function as well as an
integrated cable tester. Several Midex 3s or Midex 8s can be combined to build larger MIDI systems.
Several Midex 3s or 8s can be combined to
build larger MIDI systems
LTB protocol – Linear Time Base prevents
audible timing lapses and guarantees accurate sending of MIDI events to within a
single millisecond
Powered by USB – no external power supply needed (Midex 8 has a connection for
external power unit – just in case)
They are automatically detected once they
are connected to the computer. They can
also be connected to a computer which is
already switched on thanks to USB
Incorporate MIDI Thru function
They include USB cable and driver CD
with online manual in 6 languages
Numbered MIDI port LEDs for a clear
overview of your music project
Midex with LTB Technology —
Numbered MIDI port LEDs for a clear
overview of your music project
Integrated MIDI cable test function
Steinberg’s latest drivers offer multi client
capability, allowing you to address single
Midex inputs and outputs with different
programs. This lets you combine stand
alone applications such as Reaktor and
Cubase with your MIDI hardware – even
if one program uses LTB while the others
do not.
They offer secure and reliable use with
Macintosh OS as well as Windows 98SE,
ME, 2000 and XP. A special driver
optimization gets around limitations
in certain Windows versions which
allowed only 10 MIDI ports to be used
Superior timing and more than just an interface!
Today’s complex operating systems and computer configuration can lead to small timing
inaccuracies in MIDI event sends—making precise MIDI timing difficult. This can be up
to 5 ms in extreme cases – small but audible. Depending on musical taste or the user’s
individual expectations, these inaccuracies can compromise the quality of songs.
Additional delays caused by sound generators are also increasingly being seen as
unacceptable among producers of today’s dance music or any other musical styles where
maximum ‘tightness’ is deemed particularly important. In the age of virtual instruments,
precision MIDI timing is essential because VST instruments operate with sample accurate
timing. When they are used together with hardware sound modules, timing inaccuracies
can become painfully apparent.
The solution is Steinberg’s LTB technology, a high-speed MIDI protocol which gets around
an operating system’s limitations in a simple yet elegant way. With LTB, every MIDI event
is sent to the MIDI interface ahead of time, together with information describing the exact
point of time when it is to be sent out from the interface. Here it is stored and released
from every Midex port to the respective sound generator at precisely the right time. This
guarantees a timing accuracy for single MIDI events of under a single millisecond - on
every port. This is made possible by a micro sequencer built into all Midex devices. It
offers a timing accuracy which was previously only possible when working with old analog
or hardware MIDI sequencers. LTB is incorporated into all Steinberg Midex series MIDI
interfaces as well as Nuendo and the latest versions of Cubase.
Midex 3 Only
3 separate MIDI outputs and one MIDI
input – up to 48 different MIDI channels
can be addressed per Midex 3
Sturdy Macrolon housing
8 separate MIDI outputs and 8 MIDI
inputs –up to 128 different MIDI channels
can be addressed per Midex 8
Easy access to extra MIDI input and output on the Midex 8’s front side
Fits into every professional 19˝ rack – or
can also be used simply as desktop unit
Midex 8 Only
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The Midex 3 and Midex 8 are hardware MIDI solutions for those who place emphasis
on absolutely accurate timing. Designed for VST-based studios who use external
sound generators to supplement their range of virtual instruments, the portable
Midex 3 has one MIDI in and three for 48 MIDI channels, while the Midex 8 with its
eight MIDI inputs and eight MIDI outputs allow up to 128 MIDI channels to be addressed.
Both don’t need an external power supply, as their interface’s power is supplied by the USB bus.
Media Production System
Nuendo 2.0 is a high-end digital audio workstation and media production system designed
specifically for the demands of modern multimedia productions. Regardless of whether you
are working on a music or post production project, in broadcasting or video—Nuendo 2.0
offers a solution which will perform to the highest expectations—and more cost-effective
than any other system.
Created to handle any kind of job within the media industry, all recording, editing and
mixing functions were developed from scratch, allowing Nuendo to offer the most advanced
studio technology. And Nuendo’s extensive interface, import and export
functions guarantee perfect integration into every studio environment regardless of genre—
composition, film, broadcast, music, postproduction, surround, games and multimedia.
For starters, Nuendo is a
200-track recording
facility complete with a
200-channel audio mixer
including all you’ll need
for fully professional
recording, editing and
automated mixing.
As Nuendo supports mono, stereo or surround format (up to eight discrete channels deep) your creativity is never inhibited. From input to
final mix, Nuendo 2.0 is all about surround, with multi-channel architecture through the entire signal path. Every input, audio track, effect,
group and output now offers up to 12 discrete channels, ready for full-scale 5.1, 7.1, or even 10.2 productions. To make routing in the project
even more transparent, you can customize multichannel input/output configurations and switch between them with a single keystroke. Several
input and output buses can be utilized at the same time, with any type of configuration possible - mono, stereo or any of a wide range of surround formats - and any track can be routed to and from any of these buses. Nuendo 2.0 even allows switching between multiple monitoring
configurations (speaker arrangements) and can simulate a wide variety of end user monitoring environments.
AT 349 W. 34th STREET (with purchase of $100 or more)
Set up a project the way you want it. All
program menus are user-configurable, enabling
you to hide features you don’t currently need
for a specific kind of production. For example,
if you don't need MIDI functions for a 10.2
surround mix, you can hide all MIDI menu
entries, disable the corresponding key
commands and assign these preferences to a
template. Do you really need to have
video-related menu entries if you are using
Nuendo for music production? Simply hide
them and design the interface that you need
yourself. All hidden features are still waiting in
the background in case you will need them in
the future.
But Nuendo does not stop there. You can also
configure the controls for each track to suit
your personal way of working. If, for example,
you are engaged in audio recordings, Nuendo
can instantly be adapted as a pure audio tracker
with only a record and a monitoring button on
each track. After finishing your recordings you
can “unhide” additional functionality as it is
needed or switch to a template which immediately gives you access to all track controls again.
User Presets
Nuendo 2.0 allows for the
storing and recall of user
preferences presets. This
allows you to recall
different system settings
for various working
situations but also take
your preferred settings
with you and apply them
to another system when
you are working on a
Nuendo system at
another location.
Define Your Project
Nuendo 2.0 offers a wide range of timeline formats for just about any situation in audio
production, including samples, beats/bars, seconds, feet:frame rates of 16mm and 35mm
as well as a freely definable frame rate. Using multiple ruler tracks with various timeline
formats, you have the correct position in overview for any of your audio, video or MIDI
events. Also, the new mixer allows you to show or hide track classes and channel strip
sections to adapt to your visual needs.
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Versatile and Flexible
Nuendo 2.0 offers complete flexibility in mixing and signal routing. Its 32-bit floating point mixer features multiple multichannel
input and output buses. This allows for recording in either split or interleaved surround audio file formats and makes managing a
surround project easier than ever before - Nuendo always keeps track of which part of the signal chain is multichannel and which is
simply stereo or mono. When routing signals, Nuendo even adds effect return channels that allow effects to be added to the input
signal while recording, as well as full delay compensation throughout the signal path.
Of course, Nuendo incorporates VST System Link—Steinberg’s revolutionary technology that allows users to increase the realtime
processing and mixing power for any project by simply adding as many Macs, PCs, desktops or laptops to the system as are needed.
But Nuendo 2.0 doesn't stop there. An array of powerful new networking capabilities allows the transferring of tracks and events in a
network over TCP/IP LAN. Each user in a network gets his user ID and read/write permissions for each TCP/IP project. The standard
network access built into Nuendo 2.0 supports recording to, as well as copying and playing back from dedicated servers or other
workstations: all that’s needed is TCP/IP LAN. Combining separate Nuendo 2.0 projects is no problem, either - a Merge Project
function fuses tracks from one project into another.
Nuendo 2.0 also allows the flawless import of Cubase SX projects, and support is provided for a huge range of export formats in order
to exchange projects with systems from other manufacturers. Nuendo 2.0 can also import numerous file formats such as AES31, Open
TL 3.0 and OMF. Finally, Nuendo 2.0 allows you to set up a project the way you want it. If there is no need for MIDI functions in a
particular mix, for example, all MIDI controls can be hidden for each track to suit your personal way of working. You can hide
functions you don’t use from Nuendo’s menus - making for a better overview and faster response - and you can even define which
buttons and controls you want to see on your tracks, and in which order.
Pristine 32-bit audio quality with sample
rates of up to 192 kHz will capture every
nuance of your source audio. Processing
audio internally at 32-bit floating point gives
you a theoretical headroom of several hundred dB, making it practically impossible to
introduce digital clipping.
Offers a choice of a variety of record formats, including Wave, Broadcast Wave, AIFF
and Wave64, for long duration recordings.
A variety of record modes suit any approach,
with the stacked record mode allowing the
compiling of takes directly in the Project
Innovative multi-channel architecture lets
you record not only in mono, stereo and 5.1
but in all common surround formats up to
10.2. Record your surround material either
as individual files or interleaved as one file,
in the destination folder of your choice.
From input to final
mix, Nuendo 2.0 is
all about surround,
with multichannel
architecture through
the entire signal
path. Every input,
audio track, effect,
group and output
offers up to 12
discrete channels,
ready for full-scale
5.1, 7.1, or even 10.2
productions. To
make routing in the
project even more transparent, you can customize multichannel input/output configurations and
switch between them with a single keystroke.
Several input and output busses can also be
utilized at the same time, with any type of
configuration possible - mono, stereo or any
of a wide range of surround formats - and
any track can be routed to and from any of
these busses. You can even switch between
multiple monitoring configurations (speaker arrangements) and simulate a wide variety of end user monitoring environments.
The mixer itself is user-configurable, so you
can choose between a variety of display
options. Above the normal mixer with the
fader section you can display either insert
effects, effect sends, EQs or an additional
view with input and output settings including gain change and phase shift per channel.
The mixer is also available in a narrow view
for simultaneous display of many channels.
Recording to timecode is easy. The online
recording function puts Nuendo in record
mode as soon as a valid timecode signal is
MIDI Features
Extensive capabilities, making it easy to set up
and configure MIDI devices for use with
The large range of MIDI editors (Drum,
Logical, SysEx and List) make editing MIDI
information more intuitive than ever before.
MIDI plug-ins such as Quantizer, MIDI Echo
and Compressor ensure more creative possibilities and flexibility, and are all directly
reachable from the Project Window.
The Nuendo automation system also extends
to all MIDI parameters, letting you draw
MIDI automation data with any of the mathematical shape tools. Multiple controller
lanes within the editors give you a clear oversight over your MIDI data, as all data can
now be displayed on the same page.
Nuendo 2.0 offers the most flexible mixing
experience in digital media production. Its
32-bit floating point mixer features multiple
multichannel input and output busses. This
allows for recording in either split or
interleaved surround audio file formats and
makes managing a surround project easier
than ever before — and Nuendo keeps
track of which part of the signal chain is
multichannel and which is simply stereo or
Provides complete flexibility in signal
routing to and from virtual effects for each
and every track. It even adds effect return
channels which feature the full parameter
set of regular channels and of course the
complete mixer has full delay compensation
throughout the complete signal path.
With VST System Link and the option to integrate IP network collaboration, Nuendo 2.0
features a huge range of functions dedicated to maximize computer processing potential and
manpower for your project. Using any of the two technologies alone or combining them has can
vastly increase efficiency in your project workflow.
—With VST System Link, not only can CPU intensive tasks of larger projects like effect
processing, video or virtual instruments playback be outsourced to selected exclusive
computers, but large projects can be allocated to various computers as well. This permits
simultaneous playback of hundreds of audio and MIDI tracks from a range of different
computers in sample-accurate synchronization.
—Unique TCP/IP functionality allows true networking on any kind of project, from postproduction to music, from multimedia to game sound design. This networking technology
supports the full range of editing tools over a network, on projects, audio, MIDI and even
video tracks. It allows users to connect multiple Nuendo workstation computers via standard
LAN network cards. An entire project or just selected tracks can be opened on multiple
computers for other members of the network to access and edit.
Surround Sound
Nuendo 2.0 has one of the most powerful editing engines around, with
unlimited undo/redo as standard. Not only can you undo cuts, fades or
other basic edits, but also bouncing, offline processing and removal of
complete tracks can be undone. The Edit History window lists all actions
made on your project down to every single event, ready to undo or redo
to the point where you want to work from.
Every single audio file shown in the pool or used in the project window
has its own offline process history. All processing carried out on a file can
be removed, changed or replaced by another process or plug-in, no matter
how much processing has taken place in the meantime. All later processes
will be reprocessed automatically for you in the blink of an eye.
Supports various kinds of editing styles, depending on your work style.
Traditional cuts, nudging, trims and fades can be made using a variety of
tools: object based, range based or using a jog wheel from any of the
supported remote controllers. Mouse, keyboard or remote control can
be used separately or combined for optimal workflow speed.
Offers everything needed for modern surround productions. Every input
channel, audio track, effect, group track and output section of Nuendo
offers up to 12 discrete channels, ready for full-scale 5.1, 7.1, or even 10.2
productions. To finalize your production, optional encoders for Dolby
Digital and DTS are available. Nuendo lets you simulate a wide variety of
end user monitoring environments before you start encoding to these
industry standards, to ensure that your mix is always delivered with the
highest compatibility to all kinds of end formats.
Allows scrubbing of all audio at the same time as well as scrubbing the
video track. Various forward and backward scrubbing speeds are
supported, and can be executed from a specific wheel on the Nuendo
transport bar or by the jog or shuttle wheel of a supported remote
controller or mixing desk. Fast locating, trimming and scrubbing of
video and audio could not be easier.
You can also do all editing within the integrated sample editor. This
opens an additional range of features for an even faster workflow: easy
creation of regions, bouncing these into a library, creating processed
regions or tuning sync points by scrubbing the audio with them.
Nuendo offers all this plus a smart hitpoint detection feature for fast
locating of audio peaks, adapting grooves and creating groove templates
in the sample editor which, of course, supports full drag and drop to tie
up with the Project Window.
To help you get the best out of your project, a huge array of
virtual effects, ranging from standard dynamic processing and
filtering to creative modulation effects or restoration processors,
is supplied.To help you get the best out of your project, a huge
array of virtual effects, ranging from standard dynamic processing
and filtering to creative modulation effects or restoration
processors, is supplied.
Or choose from a wide
range of third-party
VST or DirectX plugins. All plug-ins can be
used both online or
offline, and as many
instances can be
loaded as your computer can handle.
If you are using MIDI, Nuendo also offers the latest Steinberg
technology to create sounds hitherto unheard of. Arpeggiators,
chord processors and many other plug-ins are included that
manipulate the dynamics, pitch and time elements of MIDI
events, as well as three unique virtual instruments to create
warm analogue layers or play back powerful drum samples.
The integration of the VST interface opens Nuendo up for
additional software samplers like the award-winning HALion
Sampler, synthesizers or many other virtual instruments.
Multimedia: The creative process for music and sound design is
supported by integrated sound modules and many features for automatic
creation of impressive audio collages. The large set of tools to synthesize
and match sound to any kind of visual make Nuendo a real time-saver
when creating audio for your project. The integrated video player
supports all important multimedia files and lets you keep the focus on
your product while you are adding audio information.
Radio Broadcast: Design expressive commercials or jingles, create radio
news stories or work on multi-part radio. Nuendo is equipped for all the
above and more. The Nuendo project concept means that both pitch and
time elements of your projects can freely be manipulated, and guarantees
intuitive, single-layer editing, fast browsing of sound archives and concise
arranging of content.
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The Nuendo Project Window gives you a complete, transparent
overview of your project, with immediate access to track parameters,
views “zoomable” right down to sample level and much more.
Supersonic Editing
• Support of ASIO, MME, DirectX, mLAN and
• Optimized multithreading: unlimited amount
of processors supported, processor load is
dynamically spread over all processors
• Support of Intel Hyperthreading Technology
Export Formats
• Mixdown to AIFF, Broadcast Wave, Wave, Wave
64, MP3, MP3 Pro, RealAudio G2, Windows
Media, SD2 (Mac), Ogg Vorbis, Dolby Digital
AC-3 and DTS (optional encoder)
• Supported export sampling frequencies up to
32-bit/384 kHz (Broadcast Wave, Wave, AIFF)
• Real-time non-destructive crossfades
• Advanced crossfade editor with pre & post roll
• Auto-fade and auto-crossfades with definable
fade times for smooth transitions
• Sample editor with region list and sync point
editing. Drag and drop regions from the sample editor to the project window
• Timeline Formats: Timecode, Feet:Frames
(16mm, 35mm), Seconds, Samples, Bars and
• Audio mixdown to a mono or multi-channel
file up to 12 channels
• AES31 • Open TL 3.0 • MIDI File
• Unlimited undo/redo with edit history list
(includes zoom undo/redo)
• Multiple timelines showing various formats at
• OMF 1 & 2, embedded audio or file references.
• Visible second tracklist with fixed tracks
• 1 user definable frame rate possible
• Track sheet printing, smart track sheet
functions for better overview
• Timestretch tool allows fast snap-based
stretching of material
• Extensive event display possibilities
• Real-time mixdown option
• Preset curve tools for automation editing
• Complete user configurability: unused menu
entries can be hidden, key commands can be
disabled, preferences, key commands and the
menu structure can be stored and recalled
• Nuendo tracks including media files, mixer
channel settings & automation
• Various options to lock events in size, fadelength, position and others
• Toggle alternate key command sets
• VST System Link for sample accurate sync,
audio and MIDI transport between multiple
Nuendo systems
• User configurable project templates store windows settings, layouts, track heights/sizes, project and channel settings, plug-ins w/parameters as well as folders and files in the pool
• Easily configurable window layouts, track
controls, toolbar and track inspector
• 2nd track list for fixed tracks
Import Formats
• Audio: import of AIFF, AIFC, Wave, Broadcast
Wave, Wave 64, MPEG-2 and 3, Dolby Digital
AC-3 (with optional Nuendo Encoder) and
Ogg Vorbis. WMA, WMA Pro, WMV, WMV
Pro (PC only), REX I & II files, SD2, up to 384
kHz depending on the file format
• AES31 • Cubase SX project • Open TL 3.0
• OMF 1 & 2, embedded audio or file references.
• Premiere Generic EDL
• Ability to convert interleaved multichannel file
into multiple mono files on import
• CD audio grabbing (selection inside track possible)
• Sync to MTC, ASIO Positioning Protocol or
send MTC and MIDI clock
• Folder tracks for group-based overview
• Vertical view option for recording takes in the
project; browser view allows all data (events,
automation, etc.) to be edited numerically
• Edit mode for syncing events & fades to the
• Send 9-pin & MMC machine control
• Sync points available in events and regions,
s-points scrub the audio
• SMPTE Generator plug-in
• Detect & strip silence
• Fast locate and sync lock up
• Hit point detection for loop editing and cue
• Sample accurate sync with ASIO 2.0
• MMC slave with track arming support
• Record 16/24/32-bit at up to 192 kHz depending on the audio card
• Recording of multiple channels of audio
simultaneously per track, split or interleaved
• Record of AIFF, Wave, Broadcast Wave and
Wave 64 for long duration recordings.
• Jog and scrub of the complete project
• Project shuttling with fixed speeds, custom
editable key commands, and lock to zoom
• Autoselect event under cursor on selected
• Zoom presets in the project window and part
• Analysis: statistics, FFT based spectral analyzer
• Automation data move with the audio events
• Range selection drawn on playback
File Management
• Pool with logical structure and extensive file
• Import and export of pool files
• Linear Record modes: Normal, Merge, Replace
• Advanced search field with preview option
• Cycle record modes: Mix (MIDI ), Overwrite
(MIDI), Keep Last, Stacked lanes
• Advanced file converter
• Extract audio from video file
• Online recording: record starts when a valid
timecode signal is received
• Minimize function to delete silence & unused
material from audio files
• Nuendo tracks including media files, mixer
channel settings & automation
• Separate pre roll / post roll settings and separate activity displays in transport
• Archive and backup functions
• MIDI File import
only) and QT movies video import
• Multiple user-definable record destinations
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
• Offline processing from the pool
• Libraries can be created including files, file references, regions, subfolders and sync points
• Configurable mixer, showing selected channels
and channel strip sections at wish
• Steinberg Houston, JL Cooper MCS-3000 and
CS-10, Mackie Control, HUI and Baby HUI,
Roland MCR-8, Yamaha 01V, DM2000,
O2R96, CM Automation Motormix, Radikal
SAC-2K, Tascam US-428 and US-224
• Mixer is fully multi-channel based, in every
aspect, up to 12 speaker channels
• Video track with thumbnail preview
• Video playback with QuickTime, DirectShow,
DirectX or Video for Windows
• Audio extraction from video files, replace
audio in video files
• Full screen video option
• Submixer and distance compensation plug-in
• Integrated processes: Acoustic Stamp,
Envelope, Fade In/Out, Gain, Merge Clipboard,
Noise Gate, Normalize, Phase Reverse,
Pitch-shift, Remove DC Offset, Reverse,
Silence, Stereo Flip, Time Stretch, Resampling
• Process history with the ability to modify,
disable/enable or replace previous processes.
Offline history can be saved as a batch process
• VST and DX plug-ins can be processed offline
• Peer to peer collaboration with track-locking
• Up to 4 mixers available at the same time, for
more overview for groups, VSTi’s etc.
• Unlimited amount of channels, inputs and
outputs, effect returns, VSTi & group channels
(depending on your hardware)
• VST Connection window: ASIO & master bus
routing with preset management
• Up to 12 speaker channels available for inputs,
audio tracks, effects, groups and outputs
• Multiple output configurations for mono,
stereo and surround formats at the same time
• Plug-in delay compensation throughout the
complete signal path
• Interleaved surround recording and playback
• Switchable dual mono panner, combined panner or stereo balance on stereo tracks
• Flexible effect or dry recording from any physical input to any audio track
• 8 inserts on inputs channels, audio channels,
effect return channels, group channels, VSTi,
ReWire and output channels with global and
individual soft-bypass
• 8 auxiliary sends per input, audio, VSTi and
group channel with up to 12 channels
• Phase invert and gain on all channels
• Access to internal effect plug-ins or external
effects patched via the audio hardware
• Automation tracks for each audio track, group
channel and for plug-ins
• Waveform display visible on automation background
• Automation modes Touch, Autolatch and XOver for all parameters, Overwrite and Trim
for volume
• Copy and save/load channel settings is possible
• Real-time support for VST and DirectX plugins (may also be applied offline)
• Bundled stereo plug-ins include: Flanger,
Phaser, Overdrive, Chorus, Symphonic, Reverb
A/B, QuadraFuzz, SPL DeEsser, Double Delay,
ModDelay, Dynamics, Magneto, DaTube,
Chopper, Transformer, Metalizer, Rotary,
Vocoder, StepFilter, Bitcrusher, Ringmodulator,
Grungelizer, MIDI Gate, UV22 HR (Apogee),
MultibandCompressor, Test Generator,
DeNoiser, DeClicker, Q, Nuendo EQ2
• Surround plug-ins include: SurroundPan,
MatrixDecoder/Encoder, Mix8To2, Mix6To2,
MultiScope, MixerDelay (distance compensation)
• Plug-in based surround panning
• Surround encoding: downmix plug-in for fast
monitoring in other multi-channel formats
• Matrix encoder/decoder for LCRS or 3/2
• Optional Dolby Digital/DTS encoding/decoding
• VST System Link for sample accurate sync,
audio and MIDI transport between systems
• Hierarchical sharing of complete projects
down to single tracks using TCP/IP
• Standard network access allows Nuendo to
record, play back and copy files from dedicated
servers, other workstations or library servers. A
regular TCP/IP LAN is sufficient
• Tempo-lock option is available on tracks to
allow events to maintain their relative bar and
beat position as the tempo changes
• MIDI Device Manager for naming and hiding
MIDI devices
• 64 VST instrument slots
• MIDI, ReWire and VSTi channels available in
the mixer
• User definable PPQ display resolution
• Key /List/ Logical /Drum editors
• MIDI step recording
• Multiple controller lanes in MIDI editors
• Beat calculator • Rewire 2
• Audio & MIDI metronome
Macintosh - Minimum
◆ Power Mac G4, 384 MB RAM, Mac OS X
◆ USB port required
◆ Supports ASIO 2 specification for highend multichannel audio
◆ Supports Mac OS X specifications for
compatible soundcards
Macintosh - Recommended
Power Mac G4 733MHz or faster, 512MB
RAM, Mac OS X, v10.2
PC - Minimum
◆ Pentium /Athlon 650MHz, 256MB RAM
◆ Windows 2000, Windows XP
◆ USB Port required
◆ Supports ASIO 2 specification for high-end
multichannel audio
◆ Supports Windows MME / DirectSound
specification for standard soundcards
PC - Recommended
◆ Pentium/Athlon 1.4GHz or faster, 512MB RAM
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Remote Control
24-Bit/96kHz I/O Audio Card for PC and Mac
Representing the perfect blend of hardware design and ASIO driver implementation, the
Nuendo 96/52 DSP delivers an incredible 26 audio inputs/outputs from a single slot
PCI card at up to 24-bit/96kHz resolution (12 channel 24-bit/96kHz
record/playback on ADAT optical) with unparalleled connectivity (with other
digital audio components), complete synchronization possibilities, zero latency
monitoring and reduced CPU load. ASIO-poured in hardware means that
performance levels previously only achievable with very heavy CPU loading are now
possible without exhausting processor power just to get multi-channel audio in and out
of the computer in a timely fashion. DSP processing allows freely scalable level meters, peak
and RMS calculation in hardware. Card features 3 x ADAT optical I/O, ADAT-Sync In,
S/PDIF I/O, word clock I/O, 2 MIDI I/Os and TotalMix, a DSP-based real-time mixer/router.
Unique Features
High Performance
Normally it is the audio software drivers that allow audio hardware for the PCI bus to work with
all applications that are using the PC for audio I/O. However, all driver actions are CPU actions,
resulting in lost performance that could be better used by the host application. When the
Nuendo 96/52 DSP is used with its ASIO driver, the complete data transfer is performed by the
smart custom programmed logic of the audio card to the PCI bus. The CPU is simply not used.
Super Fast
Auto Sync
The 96/52DSP card is a PCI bus-master
device that works exclusively in 32-bit transfer
mode. The card moves audio data directly to
and from the ASIO host application’s memory
using the fastest PCI bursts. Nothing could be
more efficient. There are no DMA transfers
taking place, no multiple 16-bit data
movements, and no data bit shuffling.
With AutoSync activated, the card continuously searches for a valid input signal to lock
to. This produces an instantaneous ‘record on
the fly’ performance without having to wait to
resynchronize to the input signal. Systems of
up to 3 cards are supported and maintaining
sync between them is as simple as connecting
them all to a common device.
TotalMix Mixer
Any input and output can be routed
and mixed to any output. Limited
only by the available outputs of the
I/O-box, up to 14 independent
submixes are available. Internally, the
mixer works with 40 bit wordlength.
For level alterations there are 65536
steps that allow for a virtually
continuous change between 6 dB gain
and maximum attenuation. In unity
gain setting, the mixer is even
bit-transparent and can pass the input
signal unaltered.
TotalMix not only leads to perfect and complete ASIO direct monitoring, but is also useful
without ASIO. Thanks to a proprietary mixer surface, submix and Zero Latency Monitoring it
can be used with all audio applications. An external mixer thus becomes unnecessary many cases.
◆ Working
with multiple digital sources
brings its own problems. All devices must
be synced precisely or otherwise dropouts
and crackles can occur. Ensuring that a
system is correctly synchronized is made
more transparent with the SyncCheck
feature. The card can check all its inputs
simultaneously and give an exact read out
of the sync quality in the settings dialog.
SyncAlign features guarantees absolute
data alignment across all channels. It
cannot scramble channel assignments,
and ensures that all ports are started with
precise sample alignment. SyncAlign also
compensates for any time differences
when starting recording while playing.
Secure BIOS Technology allows to perform hardware updates via software/
driver without any risk. And thanks to its
unique ‘Zero CPU Load’ technology,
guarantees highest performance and lowest
latency on both notebooks and desktops!
Change latency on the fly. No manual
reset, no re-boot - simply continue when
using Cubase or Nuendo.
Zero Latency Monitoring (ZLM) brings
real tape machine feeling to the PC. At
Punch-in the corresponding track is
switched into bypass directly in the
hardware, at Punch-out it switches back
to playback. Thus the PC behaves exactly
like a ‘normal’ tape machine.
Versatile 24-bit/96kHz Audio Interface Components
Nuendo Audiolink 96 PCI
Nuendo Audiolink 96 Mobile
This is an exclusive PCMCIA
type II card that fits into all
laptop computers for the most
compact and powerful Nuendo
system on the move. Connects
to the Nuendo Audiolink 96
Digiset or Multiset via a
special 15-ft. breakout cable.
Features the low latency and
Zero CPU performance of the Nuendo 96/52 DSP card.
The Nuendo Audiolink 96
PCI is a more traditional PCI
card for Mac and Window
computers with the same
functionality as the Audiolink 96
Mobile. Connects to the Nuendo
Audiolink 96 Digiset or Multiset
via a special 15´ breakout cable
and features the low latency and
Zero CPU performance of the
Nuendo 96/52 DSP card.
Nuendo Audiolink 96 Digiset
This 9.5˝ breakout box gives you all the connectivity of the Nuendo
96/52 DSP PCI card (3 x ADAT optical I/O for 24 channels each
way, S/PDIF coaxial for stereo I/O, ADAT-sync input for sample
accurate synchronization, and Word Clock I/O) plus stereo line out
for monitoring and two MIDI inputs and outputs. Ideal for those
who want to do editing and/or MIDI recording on the move, but
then needs to connect into 24 channels of ADAT I/O on returning
to the studio for audio recording/mixdown.
Nuendo Audiolink 96 Multiset
Used in conjunction with the Audiolink 96 PCI or Mobile cards,
this breakout box connects to external equipment with 8 analog
inputs/outputs (balanced, 24-bit/96 kHz), one ADAT optical I/O
for 8 additional channels each way, S/PDIF I/O, Word Clock I/O
and ADAT-sync input. Plus, there is one MIDI I/O and a separate
analog line output. Perfect for those who to do 8-channel
recording as well as MIDI/audio editing on the move, but then
connect into an additional 8 channels of ADAT I/O on returning
to their project studio for recording/mixdown.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Developed from the technology originally created for the Nuendo 96/52 card, the Nuendo AudioLink 96 Series (consisting of
two interface cards, two breakout boxes and the TotalMix software) offers the same low latency, AISO performance and high
channel counts that has made the Nuendo 96/52 the audio card of choice for professionals. However, the increased flexibility
which the components in the AudioLink 96 series offer, enable users to build a system which meets the specific demands of
their current working environment. Studio or location, laptop or desktop, Mac or PC, there is a combination of card, interface box and driver to fit all needs.
Like the Nuendo 96/52, Nuendo AudioLink 96 components will shape a system that supplies 24-bit/96kHz audio; multichannel digital and analog I/O; ADAT optical, S/PDIF, ADAT Sync and Word Clock inputs; and latencies down to 1.5ms.
But they also add MIDI I/O and Total Mix software, making the system especially valuable to the user on the move who
now has one less box to carry around with them.
And Nuendo AudioLink 96 isn’t just a self-contained construction kit for audio interfacing. The ADAT connectors on the
Nuendo Digiset and Multiset I/O boxes enable you to hook up to all existing Nuendo converter racks.
8-Channel 24-bit A-D/D-A Converter
Perfect for those working at the cutting-edge of audio recording for formats like DVD-Audio, the Nuendo 8•I/O 96k uses the very
latest 24-bit converters with 128x over-sampling to attain a real dynamic range of over 110dB at a sampling rate of up to 96k.
The analog input circuitry uses a fully servo-balanced and completely symmetrical audio path. The flexible gain architecture
allows input sensitivities of low gain, -10 dBV and +4 dBu and output sensitivities of high gain, +4 dBu and -10dBV.
With its intelligent clock control an internal clock is provided in 44.1 up to 96 kHz, but you also can use an external clock. And to
ensure a perfect synchronization the Nuendo 8 I/O Sync Check immediately shows sync conflicts in your system and the
Nuendo 8 I/O SyncAlign guarantees absolute data alignment across all digital outputs.
◆ 96k converters feature 8 channels of A/D
conversion that can be output via both
24-bit ADAT optical and TDIF-1 interfaces
and 8 channels of D/A conversion driven
from either the 24-bit ADAT or the TDIF-1
interfaces, all in a single rack space.
◆ To make the best of the excellent dynamic
range of the A/D converters, the input
level switch steps through the AD8-I/O’s
three input sensitivities:
Low Gain, +4dBu, or -10dBV. Similarly,
the output level can be independently
selected from High Gain, +4dBu, or
◆ Inputs can be accurately calibrated to the
audio source using the signal present &
signal clip indicators provided. Each analog
output has its own ‘Signal Present’ LED
that works in an analog way (brighter at
higher levels). Pushing OUTPUT LEVEL
switches between High Gain, +4dBu or 10dBV as the selected analog output level.
◆ Nuendo SyncAlign guarantees absolute
data alignment across all channels. It
ensures that all ports are started with
precise sample alignment, and it also
compensates for any time differences when
starting recording while playing.
Nuendo Studio System One 96k —The
Complete Audio Production Solution
Nuendo Studio System One is a complete production
solution designed for the audio production process,
whether for music, post production or Surround Sound
authoring for film, TV and DVD projects. Available for
Mac or PC, the bundle includes Nuendo 2.0 software, the
Nuendo Surround Edition, Nuendo PCI 96/52DSP card and the Nuendo 8•I/O.
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
◆ All digital inputs/outputs operate over the
full 24-bit range, and the Nuendo 8•I/O
96k can also be used as a a digital patch
bay and format converter.
◆ Intelligent Clock Control (ICC) provides
functionality not found on any other converter. For example, the AD converter
clock can be derived from the internal
clock at 44.1, 48 or 96kHz or externally
from the BNC connector or from any of
the digital inputs. The DA have the same
range of options.
◆ The larger the system, the greater the
chance sync isn’t maintained across all
digital and word clock inputs. And if all
devices aren’t synced precisely, dropouts
and crackles can occur. To ensure that a
system is is correctly synchronized and
working at the best possible audio fidelity,
the 8•I/O 96k incorporates SyncCheck to
check all its inputs simultaneously and
give to give an exact read out of the sync
quality in the settings dialog.
Digital Format and Rate Converter
Switchable 24-bit sample rate converters
(SRC) allow for both highest quality sample rate conversion and clock unlinking of
all AES/EBU inputs.
All of the Nuendo DD8’s digital I/Os support 96kHz/24-bit. As ADAT optical and
TDIF are usually restricted to 48kHz, the
unique DS mode (double speed) allows
two channels to be used for the transmission of one channel’s data. The algorithm
used is compatible to S/MUX and Double
Wide, and is implemented in the Nuendo
96/52 DSP audio card. (Makes the Nuendo
DD8 ideal when Nuendo 96/52 DSP owners need real time AES digital conversion).
The Nuendo DD8 is a reference quality 8
channel format converter featuring exceptional features like Intelligent Clock
Control (ICC), SyncCheck, SyncAlign,
Bitclock PLL, digital patchbay functions,
and active jitter reduction through SD-PLL
and 96kHz/24bit sample rate conversion.
to AES/EBU work both entirely independently and intelligently coupled.
Dedicated LEDs display the state of the
incoming and outgoing signals and all
operations running inside the device.
8 channel AES/EBU (4 x stereo, XLR) to
ADAT optical/TDIF-1 converter
Sample rate conversion 96 kHz/24 bit
switchable for the AES/EBU inputs
8 channel ADAT optical/TDIF to AES/EBU
(4 x stereo, XLR) converter
ADAT optical inputs, 24 bit, using bitclock
PLL for sample accurate lock
Clock unlinking (re-synch) by SRC
ADAT optical outputs, 24 bit, fully compatible with all devices using this interface
Active jitter reduction by Serial Double PLL
and SRC
TDIF-1 interface, 24 bit, low jitter PLL,
Emphasis support, DA-38, DA-88, DA-98
Digital patchbay for copying, duplicating
and distributing the digital input signals
❖ SyncCheck, unequalled technology for
checking clock synchronicity
Copy Mode for copying data to an output
of the same format (ADAT to ADAT) etc.)
S/PDIF mode switchable for the second
ADAT optical output
New! ID — Remote Control for Nuendo
Designed and handcrafted by a
team of audio professionals to
meet the demand for total control
of Nuendo with a familiar
“console”-like feeling and much
more, Steinberg’s ID (Input
Device) is far more than another
generic controller device. ID
consists of 4 logical sections
dedicated to various aspects of recording, editing, mixing and control room monitoring:
◆ Fader-section offers 24-channels for direct
access. LCDs show track names and status of
channel parameters: solo, cut, track- arming,
direct channel-strip access and automationstatus. 24 touch sensitive motorized faders
and encoders control levels.
◆ Encoder-section features a complete chan-
nel strip layout with 24 endless encoders,
24 two line displays and 24 level indicators
for direct access to any channel parameter.
◆ Controlling VST Plug-ins is supported by 24
endless encoders in conjunction with 48
lines of display and 12 additional FavoriteUser-Function encoders with displays.
◆ Edit-Section’s integrated Matrix ASCII
keyboard and the trackball allow computer
and software operation without mouse and
keyboard. Also has switches and status
displays for nearly every important edit
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
The Nuendo DD 8 converter is a compact 1U 19˝ rack-mounting device featuring digital interfaces in the following formats:
AES/EBU, ADAT, TDIF. With its 8 channels of AES/EBU input and output it serves as a perfect AES/EBU front end for
Nuendo users. The DD8 can also be employed as a digital patchbay for splitting digital signals and as a sample rate/digital
format converter. Because it offers several combinations of the basic functionalities it can be a real lifesaver in studio environments, where many problems related to digital signals have to be solved every day.
VST System Synchronizer
Nuendo Time Base is
the first synchronizer
supporting Steinberg’s
VST System Link
technology. This makes it
the perfect solution for sample
accurate cueing of tape-based audio and video machines from
Nuendo audio production systems. All functions can be controlled and edited from within the Nuendo software. The outstanding feature set of Nuendo Time Base makes it the most versatile and precise synchronizer available today. Nuendo
Time Base can also be used as a standalone unit. Any Nuendo system can be used as a 9-pin slave —just hit “Start” and
Nuendo will immediately follow every command with the Virtual Machine Option.
Synchronization of digital audio and video
systems (hard disk recorders, mixers, etc.)
via house sync (Blackburst), AES-EBU,
LTC, VITC, with analog/digital audio and
video tape machines, sequencers, etc. with
separate inputs for video sync and VITC
Read, generate and regenerate timecode
(LTC, VITC, MTC and VST System Link)
Burn visible timecode readout into video
picture (2 different sizes, 4 display styles,
freely positionable)
Supports all sample rates from 16 to 192
kHz incl. NTSC Pull up/down
9-pin interface provides integration of
machine control for decks like Betacam,
Tascam DA98, etc.
Ergonomic practical operation using 4 key
pads and text display to show all functions
and conditions plus software control,
guarantees the user a full overview and
intuitive usability
Optional: Virtual 9-pin Machine.
Emulation of 4 different 9-pin machines,
allows use of Nuendo as a slave machine
on professional 9-pin editors and (console
integrated) controllers.
1. House sync for all digital devices: with its 4 WordClock outputs, 1 AES/EBU output and one
of the best clocks available it is the perfect clock master in any studio with sample rates up to
192 kHz.
2. The Time Base can lock to a Blackburst signal. WordClock, AES/EBU and the timecode generator are video locked.
3. System Link generator: any timecode source - LTC, VITC, 9-pin - will be converted to system
link data. By connecting the Nuendo audio card to the AES/EBU connections on the Time
Base, Nuendo systems will slave sample accurate to the incoming timecode and machine control. Time Base can be run as a Virtual Machine and outputs the necessary System Link information (+ LTC, VITC inserter) to the connected Nuendo system(s), by running the virtual
machine. The whole system including the timecode generator is video locked as long as
Blackburst is fed to the Time Base.
4. The 9-pin Machine or the Virtual Machine can be controlled via MMC in parallel to the controls from the Nuendo system.*
5. By using the optional Virtual 9-pin Machine option (VTB), Nuendo – using VST System Link
– behaves like a 9-pin Machine to the controlling system. Four different 9-pin emulations are
available. (BVW 75, DVW500, 3348, TM). Depending on the chosen emulation, up to 64
tracks (track ready) commands will be supported.*
6. Separate from the video sync loop thru connectors, the Time Base offers a video in-/output
which is used to read VITC, insert a VITC signal from the internal VITC generator and a
switchable burn-in window. The video signal can be fed to the Time Base for timecode insertion on video playback.
7. NTSC Pull up/down: the Time Base can provide slower or faster clock signals (approx. 0.1%)
for NTSC pull up/downs. All devices will receive the changed clock speed.
8. Additionally, the GPI port assures that standard GPI devices used in the studio are controlled
by Nuendo via the Time Base, like red-light.
The VSL-2020 provides 32 ADAT channels for pristine
transmission of audio and MIDI data in 24-bit/96kHz quality to
and from the other computers in your VST System Link network.
Flawless support of ASIO 2.0 ensures stable, low-latency
multi-channel network operation with other computers
running Nuendo or Cubase. The VSL-2020 card is bundled
with V-STACK (see below) so you can increase the available
music-making power in your studio.
With the VSL-2020 card and V-STACK software you can turn your PC into a live virtual instrument station. The VSL 2020’s
ultra low latency architecture guarantees dynamic, live play of VST instruments at latencies as low as 32 samples (less than 1ms).
V-STACK software hosts up to 16 VST instruments, and provides 8 send effects, 5 insert effect slots and 4 master bus effects for
your VSTi sounds. All this in immaculate 32-bit audio quality.
S/PDIF I/O - supports AES/EBU and consumer S/PDIF
Analog I/O - unbalanced (-10dBV) Stereo
Standard MIDI 5-pole I/O
24-bit with 32, 44.1, 48, 88.2 or 96 kHz
SuperClock (FS 256) and WordClock I/O
with BNC connector
Bundled with V-STACK VST System Link
VST System Link/Live Performance Software
Since Steinberg introduced the VST 2.0 plug-in format a few years ago, there has been a
rapid development of VST Instruments - software synthesizers and other sound sources
played and controlled from within a host application. There is now a huge number of VST
Instruments available, ranging from simple synthesizers and drum machines to exact software replicas of vintage synths and extremely advanced sound modules with no equivalent
in hardware. VST Instruments can often be more flexible than hardware synthesizers,
allowing for total recall and full automation of all parameters, patching and mixing in the
digital domain, graphic interfaces and solutions that wouldn’t be possible in hardware, etc.
However, any computer can only play so many VST Instruments at a time - and typically,
the more advanced a VST Instrument is, the more processing power it requires. Enter
Steinberg’s VST System Link. . .
This revolutionary system makes it possible to have several computers working together as one large system, with no other requirements
than ASIO compatible audio interfaces with digital audio connections. Computers connected via VST System Link will freely exchange
audio and MIDI data, all in perfect sync, creating a digital audio network system. This provides an excellent solution to the problem of
CPU-hungry VST Instruments: let one computer play audio and MIDI tracks and dedicate another computer to running VST Instruments
only, taking full advantage of all available processor power!
V-STACK is the perfect application for this: a stand-alone VST Instrument host, supporting up to 16 VST Instruments with full mixing
capabilities and VST effect support. The VST Instruments are controlled via MIDI over VST System Link or from a regular MIDI interface
(e.g. for live use) and the audio can be freely routed to any outputs on your audio interface. Since there is no transport, editing, event handling, etc. all processing power can be focused on VST Instruments and effects!
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32 ADAT channels - 2 optical ADAT I/O
with S/MUX support
Ultra-Low Latency ASIO Audio Card
for Playing VST Instrument Live
Until recently, the only way to encode audio for surround
sound was by using expensive hardware systems which
required lots of effort to get the audio in the right form to
play into the encoding hardware and then to pass on the
encoded audio to the authoring stage of the project.
However, with Nuendo the whole process of encoding
5.1 Surround Sound—via DTS or Dolby Digital—can
now be integrated into computer-based production
systems where the processed files are ready for use in the
authoring process.
Nuendo Dolby Digital (AC-3) Encoder
Nunedo DTS Encoder
The Nuendo Dolby Digital Encoder software plug-in allows Nuendo
projects to be encoded into Dolby Digital—the number one choice
for delivering surround sound to millions of home theater system
around the world. The multi-channel audio format for DVD discs,
Dolby Digital (also known as AC-3) is based on an algorithm that
takes advantage of auditory masking and both intra- and inter-channel redundancy. This technique guarantees both outstanding audio
quality and bandwidth efficiency. Licensed by Dolby Laboratories,
the Nuendo Dolby Digital Encoder comprises the full functionality
of the original Dolby hardware. Imagine the sheer convenience of
having the encoding system on the same platform as the program
which is used to create and process the audio.
A rival format to Dolby Digital, DTS (Digital Theater Systems)
provides a similarly epic sonic experience in DVDs as well as
DVD-Audio and SACDs where the increased fidelity of the rear
speaker pair means that full bandwidth can be placed in all speakers
in the surround field. Specifically licensed by Steinberg to allow
Nuendo users access to the next stage in the surround sound
production process, the implementation is simplicity itself with the
smart integration of the DTS file format in Nuendo’s export
dialogue. The necessary routines are all automated so that the user
merely needs to define which 6 files should be DTS encoded and
the resulting encoded files are placed on the desktop ready for use
in the authoring stage.
Urban Atmospheres Surround Library
This new surround library provides urban acoustic 5.1 environments recorded in
immaculate quality. Spanning 95 scenes on 9 DVDs, Urban Atmospheres are
constructed to ensure maximum versatility in building urban soundscapes for film,
TV, radio, theater or music.
Urban Atmospheres are a collection of high-end sound environments professionally
recorded in 5.1 surround that offer unequalled spatial characteristics and pristine
sound quality. The SPL Atmos System was used to record 25 indoor and outdoor
locations, spanning 95 scenes. These astoundingly authentic recordings were compiled
onto 9 DVDs in AIFF format, ready for immediate use in any pro audio system
(Windows or Macintosh).
Urban Atmospheres are perfectly suited for any use in sound-tracking
or dubbing, be it for film, TV, theater, music or radio plays, or
anywhere you need to create a spatially realistic acoustic environment.
And because the unique construction kits containing background
atmospheric recordings with no conspicuous audio events are
combinable with the included foreground events, you can mold the
material to suit any requirements or even build your own, even more
complex acoustic environments with no additional software required.
Nuendo Surround Edition—
Eight-channel Real-time Surround Tools
The Nuendo Surround Edition is a collection of 6 surround real-time effect
plug-ins designed for daily use in media production work. Offering up to
eight channels of compression, equalization, loudness maximization,
reverberation, and LFE management, the Surround Edition is the perfect
choice for anyone with multi-channel mixing needs. Since the requirements
of a surround environment differ quite significantly from the classic two
channel world, Steinberg Spectral Design has developed this collection
specifically as a tool for the specialist fields of film, theater, DVD and
modern music production. In fact these state-of-the-are plug-ins provide all
the processing and “finishing” tools needed to produce mixes for both 5.1 and
7.1 productions.
OctoMaxx: A soft/hard gain maximizer with up to 4 linking groups,
input/output level meters for each channel and Possible Gain and
Achieved Gain meters
Octoverb: A reverb/ambiance plug-in with two independent room models
and intelligent adjustment of the reverb tail according to the room size.
Also features independent Level, PreDelay, High and Low Damp controls
for each channel
OctoComp: A state-of-the-art compressor with auditionable
independent sidechain filter for high and low frequencies,
continuous blend between RMS and Peak characteristics, an
autorelease function and up to 4 ‘linking’ groups with
individual settings
LFE Splitter: A 24dB brickwall filter with low cut filters for each
of up to 7 full range channels from which it generates one LFE
signal with selectable attenuation steps
LFE Combiner: With adjustable low frequency filters and solo
mode for each channel and a monitor mode for the LFE signal
TC Surround Reverb
The graphic user interface provides intuitive control of all the main parameters
for reverb design covering room shape and size through to diffusion and
separate controls for early reflections and reverb tail. There are three
independent tail controls for low, mid and high band with a sweepable band
crossover and and an additional EQ stage with low and high shelf filters, giving
an unprecedented sonic flexibility and realism to surround productions.
As Nuendo already takes care of positioning tracks in the 5.1 surround field,
TC Surround Verb receives the signal already panned, so instead of it’s own
panner, it has an innovative surround metering which allows you to keep track
of the audio’s position in the virtual room. Dry and wet signals are displayed
in two different colors, providing maximum visual feedback as to what is
happening to the source signals and the effected components.
The native version of the highly regarded TC-quality
reverb expanded to fill the 5.1 space with dense and
entirely convincing studio quality reverbs, TC
Surround Reverb is the ultimate surround reverb for
use with Nuendo—and is indispensable to anyone
mixing for film, home theater or DVD.
In the Space Editor you can set up size and shape of the room. This is the first
aspect of any reverberation characteristic, where the early reflections from
walls, floors and ceilings make a large contribution to the overall sound. The
Time Editor allows you to process the reverb tail in three distinct frequency
ranges, the PreDelays are separately definable for early reflections and tail, and
the Filter Section gives an individual tone for both early reflections and tail
with high shelving filters.
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OctoQ: A 7-band EQ with 3 parametric variable-Q mid bands and low
and high shelving and cut filters which works at double the selected
sample rate
The Standard in Digital Audio Editing
Professional audio editing and mastering software for Windows, WaveLab 4.0 can handle
almost any audio editing task—be it sound design, high-quality mastering, internet audio,
multimedia applications, and preparing audio for broadcasting or computer telephony.
Combining easy-to-use stereo editors with a wealth of mastering features, WaveLab 4.0
offers powerful editing tools and an array of new, high-quality virtual effect processors.
With its unique Audio Montage window, WaveLab 4.0 offers a revolutionary, non-destructive editing concept whose flexibility and performance no other software solution can
match. Create Audio Montages and carry out precision edits in real-time. Use fades,
crossfades, volume envelopes or effects without having to wait. The full implementation of
multitasking allows editing and processing in the background during playback. You can even save or record while working on
a different file. WaveLab 4.0 also features drag & drop and a customizable user interface, and you can freely scale all windows
with a mouse. Comprehensive CD burning capabilities, real-time audio file analysis and batch processors further add to the
functional depth of WaveLab 4.0. Plus, Steinberg’s latest version also supports samplers, ASIO, WDM, a vast range of file
formats as well as file resolutions of up to 32-bit IEEE/192 kHz, and real-time input and output monitoring.
Highest Quality Sound
WaveLab 4.0 offers outstanding sound quality. The
internal 32-bit floating processing depth with a
sample rate of up to 192 kHz offers superb audio
clarity. Apogee’s renowned professional UV22HR
dithering algorithm converts your audio into other
bit rates at the very last step in the mastering process.
Powerful Real-Time
Analysis Tools
WaveLab 4.0 features a broad palette of professional analysis tools. Thanks to newly developed
high-precision level indicators, you can visually
monitor playback audio input and even each single sample position - in real-time, of course. Also
included are a new version of the Peak/VU Meter
(now free-floating), a 60-band spectrum analyzer
and Phasescope, a correlation meter with
integrated goniometer. With the FFT meter, you
can also, for example, test rooms or PA systems.
Audio Montage
The Audio Montage window is the
heart of WaveLab 4.0. Here, audio
files and sections of audio are
defined, arranged and edited. Open
as many clips on as many tracks as
you want simultaneously in the
audio montage and place, move, cut,
fade or crossfade them any way you
like. Crossfades, panorama, volume
edits and effect send levels are
calculated in real-time. You can
change the “rubber band” curves
with the mouse: hear and see the
changes you make straight away - without creating fade files that have to be calculated first.
The Audio Montage is absolutely non-destructive, as the clips are only references to the
original audio files. This gives you the flexibility of being able to move, cut or delete clips.
Each clip can be processed using up to ten VST effects. The sum of all the tracks then
passes through the Master Section, where another eight real-time effects (VST, WaveLab,
Direct X) are available. Unlimited undo/redo lets you take back any edits or changes you
have made.
Integrated Mastering Studio
WaveLab 4.0 offers everything you need to give your audio the finishing touches it
deserves: a graphic, editable, fully parametric equalizer, a top level reverb algorithm,
comprehensive dynamics section as well as special high-end loudness optimization
algorithms. Also built-in are two plugins for restoration of audio recordings, Declicker
and Denoiser. Using virtual effect processors in the Master Section couldn’t be easier you can drag & drop the plug-ins around and place them into the desired position in the
processing chain. To help you compare results of different effect combinations easily, you
can open several instances of WaveLab 4.0 at the same time.
Burn Your CDs
Transparent File Management
• Analyze audio signals in real-time:
Level/Pan, Phase, Spectrum Analyzer, FFT
Meter, Wave Meter, Bit Meter
• Full real-time input and output monitoring
• High-quality virtual effect processors Q
(parametric 4-band mastering EQ),
Multiband Compressor, Spectralizer
(Enhancer), Denoiser, Declicker, Voice
Attenuator, 192 kHz Resampler
Sound Design for Samplers
Ideally suited for use in everyday broadcast audio, Wavelab includes a variety of
solutions, such as: easy-to-use speech cutting tools, simple, graphic arrangement of
audio files for radio, automatic ducking
and automatic real-time crossfades.
Audio file formats
• ASIO, WDM and MME driver support
Import and export MP3 files, while intelligent functions prepare your files for multimedia applications. These include the audio
database and the batch processor. WaveLab
4.0 also features integrated dithering to
word lengths between 8 and 24 Bits as well
as sample rate conversion (5 to 192 kHz).
Communicating directly using MIDI or
SCSI, sample editing is a joy. Sound
processing with internal EQs, dynamics and
effects, volume optimization, distortion
control, high quality time stretching and
pitch shifting with pitch detection, auto-split
functions and professional loop creation
features. All supported by crossfade-looper
and wave EQ.
Supported file formats include WAV, AIFF,
Ensoniq Paris 24-bit, RAW (8/16/20/24 bit),
AU, Sound Designer II, ulaw, MP3, Sun/Java
and many more…
Additional Functions
WaveLab 4.0 offers a range of features
which are indispensable for mastering:
editing, arranging CD tracks, sound processing with internal EQs, dynamics and
effects, automatic volume adjustment,
UV22HR dithering and noise shaping,
CDR writing, tools for problem analysis
and comparing files, and a raft of realtime analysis tools (FFT, VU/Pan, Bit,
Spectrum etc.)
Digital Audio Editing
For Project Studios
WaveLab Essential offers a range of indispensable digital audio
editing features, from superior CD writing functions to
comprehensive mastering possibilities. Based on award-winning
WaveLab 4.0 technology, WaveLab Essential delivers outstanding
quality for your project studio - and all this performance at an unbeatable price.
File Formats Supported
WaveLab Essential
full set
slightly reduced set
192 kHz
96 kHz
• Backup function, data CD burning, CD
copy, CD label creation
Audio Montage
fully featured
2 tracks, reduced feature set
Number of Slots
• OSQ (Original Sound Quality) - lossless
audio file compression
x (enhanced)
• Save several audio files in the background
while you continue working
CD Copy
• Apogee UV22HR Dithering
Sample Rate
WaveLab 4.0
Audio CD Burning
Professional CD Report Generator
Basic Audio CD
• Automatic pitch recognition and pitch
Recording Functionality
• Autosplit function splits audio files into
segments with a range of different criteria
Automated File Cutting System
Batch Processing
full, with specialized plugins
file encoding
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With its integrated audio database and batch
processors, WaveLab 4.0 takes care of routine
tasks. Organizing sound archives or databases
is simple. These versatile tools can edit and
convert audio files automatically. Using them
couldn’t be simpler - just select your audio
files, choose the editing functions and set
your destination folder. Meta Leveler can be
used during batch processing to compensate
undesired volume fluctuations.
WaveLab 4.0 makes burning CD masters easy.
You can set track and index markers directly
in the waveform, including extremely accurate settings for codes and pauses. The integrated Label Editor lets you make your own
CD labels and covers. The backup tool lets
you archive your audio files to hard drives,
CDs and JAZ. Also features audio-in-pause
function for creating hidden tracks, 1:1 CD
copying, ISO import and export, PQ sheet
import, export and printing.
By Spectral Design
The Complete VST Mastering Solution
Every recording deserves to be mastered. Without mastering, a mix can sound dull
and lifeless. Single tracks sometimes do not fit together with other tracks because of
differences in the dynamics or the frequency characteristics.
Designed to meet today’s ever-increasing demands in music production, the Steinberg
Mastering Edition is a set of six high-quality plug-ins specially designed to help you
achieve the most efficient and effective results. Compatible with a wide range of
host-based audio applications, together they will satisfy all your mastering needs. So
whatever the situation, the Steinberg Mastering Edition gives you the tools needed - in
the quality you expect of Steinberg audio software.
The ME Loudness Maximizer sets the standard in loudness optimization. It is the
first dynamic processor whose algorithms were modeled with the express purpose
of achieving the optimal effective loudness. Even with a mix where the loudness
has already been pushed to the limit, the ME Loudness Maximizer can increase
the subjective loudness of the audio material without losing “punch” or causing
distortion. The intelligent algorithm analyzes the audio material and automatically
adjusts all parameters accordingly. The preset functions allow definition of
standard working situations, making this high-quality tool very user-friendly.
The ideal tool for complex applications such as mixing, mastering, post-production,
or broadcasting, the ME Loudness Maximizer guarantees outstanding results—no
pumping, no clicks, and no unwanted artifacts or other side effects.
The ME FreeFilter is a linear phase real-time 1/3 octave equalizer, whose up to 30 bands of
equalization allow very delicate adjustments of critical frequencies. The uniqueness of ME
FreeFilter lies in its ability to conduct an extremely detailed analysis of audio sequences and use
this data in a completely new way. The ME FreeFilter can “learn” the frequency spectrum of a
piece of music and “copy” it to another. The Morph function allows real-time scalable mixing
between the two frequency spectra. This means that different music tracks can quickly and easily
be made to sound more alike. A large display shows the frequencies of both “learned” audio signals
(and the differences between them) with pinpoint accuracy.
The ME Compressor is a multiband compressor, which divides the audio signal
into five independent frequency bands. A line showing compression characteristics
is available for each band. This allows highly flexible compression of varying
frequency ranges, music signals and even single instruments, within the final mix.
The compression characteristics are displayed on a logarithmic scale, making
editing more intuitive and allowing highly delicate adjustments. The solo function
allows monitoring and adjustment of each band individually. Has two modes:
Classic mode - Standard compressor with fixed Attack and Release times
Complex mode - A new approach to audio compression. Adaptive control produces
a cleanly compressed signal without the “pumping” produced by many other compressors. The softclip function gives the output signal
that certain sharpness.
ME SpectroGraph
By Spectral Design
The ME PhaseScope and ME SpectroGraph
round off the Steinberg Mastering Edition with
two display-components indispensable for mastering work. The ME PhaseScope is a Goniometer
with integrated correlation meter. The ME
SpectroGraph displays a spectral plot as a real-time
sonogram, which gives precise verifications of even
the smallest detail in the recording.
ME PhaseScope
Real-time Vocal Pitch Transformer
VM Processor
VM Generator
Up to 4 voice harmonies can be triggered
via MIDI in realtime allowing you to create
a backing choir from a single voice in minutes, reducing recording time to a minimum
Each voice features independent control of
pitch change and voice character as well as:
– An LFO that provides vibrato simulation
with a choice of three waveforms (Sine, Saw
and Triangle) as well as adjustable Rate,
Depth and Delay parameters
– Adjustable Gain, Pan, Formant and Fine
Tune sliders
The VM Processor features an intonation
correcting algorithm that allows you to fix
any tuning problems in your vocal recordings
The portamento control can be used to smooth
the transition between notes as well as create
interesting effects at more extreme settings
The VM Processor allows you to either change
the melody or simply correct the intonation by
changing the pitch of a voice without changing
the voices original character
Independent realtime control of pitch change
and formant shifting voice character delivers natural sound pitch shifting
Pitch/Character link function for “classic” pitch shift effects
Independent controls are provided for the pitch shift and character profile to allow natural
pitch shifting or used interactively to create a range of effects such as simulating other singing
voices, and even imprinting the character of the male voice onto a female vocalist.
Real-time natural pitch shifting (no ‘singing rodent’ effect)
Independent control of pitch change and voice character
LFO with different waveforms and delay for vibrato simulation
Smoothing intonation problems in vocal recordings
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Consisting of two real-time voice effect tools, VoiceMachine is the ultimate application for redesigning the voice—whether by creating completely new sound files or altering the pitch leaving the natural character untouched. The VM Generator allows you to manipulate a vocal track as if it were
an instrument. You can control the pitch and formant characteristics of up to 4 additional voices in
realtime, simply by triggering them via MIDI. This lets you create lush vocal arrangements from a
single lead vocal track. The VM Processor lets you change the melody or correct and smooth the
intonation of a voice while maintaining its natural character. Their VST 2.0 interface allows all
parameters to be addressed via definable MIDI controllers.
Real-Time Sound Manipulation Plug-In Collections
GRM Tools is collection of eight unique plug-ins for VST by the Musical Research Group
(GRM) at the Institute National de l'Audiovisuel in Paris. Famous for their research into
sound processing tools, the possibilities offered by the GRM Tools collection goes far beyond
ordinary filter, auto panning or chorus effects. High quality algorithms offer unprecedented
flexibility and open up new dimensions in audio manipulation.
All 8 Plug-Ins offer the same interactive integrated preset handling which
allows settings to be assigned to one button in order to be reselected with a
single click. The key lies in the delay parameter which defines the time
frame in milliseconds during which the settings from the one preset blend
over into the other. Complex parameter mixes allowing sensational sound
movements are created in no time at all!
GRM Tools are indispensable for sound design, dance, electronic and
experimental music creation, film and TV, even jingles and radio effects.
Parameter interpolation and settings management
Slight to extreme manipulation of the audio source
Time relevant parameters can be synced to tempo (VST 2.0 compatible host software)
Volume 1
Volume 2
Shuffling is a random micro-splicing and shuffling algorithm.
Depending on the selected memory sizes and density, Shuffling introduces bouncing of signal fragments at definable points in the signal's
actual timing, whilst preserving the overall continuity of its time
sequence. This leads to spectacular panning, panorama width and
stereo movement effects.
Freeze lets you select a 3-second sample from an audio source and create
up to 32 loops within that 3-second sample. Treat your loops as you wish.
Reson consists of up to 128 resonant high-pass, low-pass or band-reject
filters, each of which resonates a single frequency and produces an
ensemble of very soft resonances in an input signal.
Comb Filters
Pitch Accum
Delays features a group of up to 128 variable delays, each controlled in
its amplitude and timing.
Doppler simulates the effect of a sound moving towards or away from
you, similar to an ambulance passing by.
Comb Filters is a bank of 5 comb filters with resonance up to self-oscillation. The comb filter amplifies the signal at a given frequency and at
all harmonic frequencies (integer multiples of the fundamental) of that
frequency. Harmless drum loops grow into exciting new groove happenings by emphasizing certain frequencies or morphing classical
instruments into abstract fx tunes.
PitchAccum is an algorithm which combines two transposers with their
feedback delay device. Transposition is switchable on a periodic or random basis. Harmonizer effects and spectacular pitch related creations
can be generated in seconds thanks to the interactive window.
Band Pass
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Band Pass consists of a combination of two filters: a high-pass filter
and a low-pass filter which together form a variable width band-pass or
band-reject filter. The cut-off frequencies can be set individually. This
allows creations ranging from "telephone”-effects to filter blends of all
kinds - even separately for each channel in the stereo version!
Virtual Guitar Amp Collection
Each amp and cabinet model reproduces
the same sound altering components of the
hardware originals
Full automation capabilities
Gives you total control over a guitar sound
even after the guitarist has left the studio.
Extremely low latency thanks to Steinberg's
ASIO technology. When combined with
the AudioLink I/O, Warp VST turns your
computer into a powerful guitar amplifier
rig with an imperceivable delay between
plucking the strings and hearing the signal.
Virtual Speaker Cabinets
The legendary Jazz Chorus clean sound
The dynamics of a 60s Plexi Tube Head
Combo (12˝ speaker, open housing)
The modern HiGain Chunk-Sound of the
Rectifier Era
British (4x12˝ speakers from the 80s)
Each amp model has the exact gain structure and EQ controls as the originals
Greenback (4x12˝ speakers that support
those powerful riffs)
recording systems such as Cubase or
Nuendo will allow you to monitor the signal in realtime through Warp VST while
recording the untreated signal. This provides you with the flexibility of deciding on
your amp/cabinet combination and their
settings during mixdown.
Dynamic Sector Modeling (DSM)
Developed by Hughes & Kettner, DSM
represents a breakthrough in amplifier
technology that allows an exact recreation
of the components and materials of three
of the most sought after guitar amplifiers
Each amp offers its own individual
dynamics and distinctive characteristics,
selectable with a single mouse click.
Combines the user friendliness and flexibility of digital technology with the sound
quality of a leading analog amplifier.
Guitars and Computers
Please note when recording a guitar: Although an electric guitar has a large dynamic range, the
output is relatively weak. And since standard soundcards don’t have a high-ohm guitar input,
you don’t get good-sounding results when connecting a guitar directly to a soundcard.
To get the best sound possible, you need to convert the guitar signal in high quality. This can be
done with a preamp which brings the guitar signal up to ”line in” strength. You can also use an
effect pedal that is switched to bypass mode. Some I/O solutions also have instrument inputs
with which you can get very good results, such as MindPrint EnVoice, Aardvark Interfaces,
Edirol USB interfaces. Important: The guitar signal has to be recorded in your computer as
cleanly as possible. Please adjust your recording level accordingly to avoid distortion.
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a few mouse clicks you can combine
any off the 3 virtual amp models with any
of the 3 virtual speaker cabinet models
Three Virtual Amps
◆ With
Imagine a big guitar sound with all its pure emotion and raw energy. Most guitarists
envision the classic guitar set-up - usually involving glowing valves and a wall of
cabinets. Now you can get that sound on your computer.
Warp VST, Steinberg is a VST 2.0 guitar amp simulator plug-in that allows you to
combine one of three legendary amp models with any one of three speaker cabinet
models. The sound characteristics of amps and three speaker cabinets have been
authentically recreated in software, using Hughes & Kettner’s groundbreaking DSM
(Dynamic Sector Modelng) technology. When combined with an ASIO I/O solution,
Warp VST is practically latency-free allowing you to laydown your guitar in real-time
processed with your favorite classic guitar amp combination.
32-bit Virtual VST Sampler
What’s your dream sampler? A sampler that is seamlessly integrated into your
computer. No rack space, no MIDI or audio cabling mess, no set up problems.
Total recall inside each song you do. Up to 16 instruments at a time, assignable
to 4 stereo, 4 mono and 5.1 surround outputs – giving you a total of 18 outputs.
Easiest handling thanks to drag & drop. Pristine sound quality achieved through
32-bit/96kHz support. Advanced memory management, handling sounds of up
to 20GB on any computer system and sample libraries in any popular format
including AKAI, EMU, E-magic ESX-24 and Tascam GigaStudio.
So stop dreaming— it’s here and it’s called HALion 2.0—never before has a
software sampler been more intuitive and productive.
◆ Automation
and control effects via MIDI controller data or simply tuning the
samples to the right key
Waveloop editor shows how a modern software sampler should perform. A
sophisticated crossfade function helps to set the optimum loop
Zero crossings are automatically identified and the non-destructive editing
saves faulty edit steps. Samples can be pitched, modulated or reversed.
Creating complete programs and layers in the keyzone window is fast and easy
with HALion 2.0's intuitive editing facilities
Global presets for all envelopes and modulation settings for quick loading of
individual settings for each program
Loading samples into HALion 2.0 is a simple drag and drop-job directly to the
keyzone window. The samples appear graphically on the screen. Via resizing
and moving the keyzones, velocity and layers are set.
18 freely assignable outputs per instance (4x stereo/ 4x mono, 5.1 Surround)
Pristine sound quality is achieved through • 8-/16-/24-/32-bit file support
Various filter types (Notch/Hi-Pass/Lo-Pass/Band-Pass) with selectable 12 dB or
24 dB slopes as well as new Waldorf filters and "fatness" function provides
opportunities for breathtaking sound experiences.
Filter and settings can be made individually for each sample (and/or globally
for the whole program)
16-way multi-timbral with an individual editor for program selection, 128 programs per instance, unlimited layers per program
256 Voices per instance, several instances loadable simultaneously
Full individual parameter set for each sample, ideal for drum sounds
Extensive, chainable modulation routing capabilities
2 synchronizable envelopes with up to 32 freely editable points and 2 LFO´s
Virtual keyboard for auditioning samples
WAV, AIFF, AKAI (S1000, S2000, S3000), Roland, and EMU (3/3X, ESI/4/4K,
E64/E6400, ESynth and Ultra) import functionality, plus SoundFonts 2.x,
GIGA, LM•4, LM•4 MarkII script import, SDII (Mac only) and REX file formats, ensures HALion 2.0 is optimally equipped for the world of sampling CDs.
Modulation/Tune Page for various settings
Seamless integration within your VST 2.0 compatible host
application including; sample-accurate playback timing,
complete automation capabilities and extremely low latency
thanks to Steinberg´s industry standard ASIO technology. All
this makes HALion 2.0 the perfect sampler for optimizing
your workflow within the VST system.
The Macro Page
Streaming of samples from disc: GBs of sounds independent of RAM limitations
MegaTrigg function to activate samples via controllers or keys and trigger them
with NoteOff or Pedal command for perfect GIGA import
Unprecedented navigation system (diagonal using a virtual “Navigation-ball”)
and drag and drop makes working with your samples faster and easier than ever.
HALion 2.0 includes 4 CDs with over 1.6GB of sample content by sample experts
Wizoo and E-Lab:
➣ XXL Acoustic Piano,
➣ XXL Nylon Guitar • XXL Bass
➣ XXL Drums & Percussion
➣ Clavinets ➣ Clean Guitar
➣ Electric Pianos ➣ Electronic Drums
➣ Synth Basses ➣ Analog Chords
➣ Digital Decays ➣ Pads
Waveloop Page
➣ House Organ ➣ Osc Toolbox
➣ Erazor FX ➣ Organs
➣ DrumTools
➣ LoopTools 65 bpm - 170 bpm
➣ MusicLoops 90 bpm - 170 bpm
➣ SoundTools Samples
➣ SoundTools Vox
Symphonic String Orchestra Instrument And Library
The ultimate symphonic strings collection for
computer-based music production, the 5GB
HALion String Edition Vol. 1 gives you a top
quality orchestral string section (8 double basses,
10 cellos, 12 violas and 16 violins), with outstanding playability, a unique, warm character
and a natural ambience. A specially-developed
VST- and DirectX- compatible player is bundled
to provides a direct connection to production
systems like Cubase SX/SL and Nuendo.
Musician and composer, Claudius Bruese, who
helped in the development of the legendary VST piano, THE GRAND, also played a significant part in the production of the
HALion String Edition. This software gives the precision in reproducing acoustic instruments, the superior sound quality
and clarity, as well as the playing characteristics users around the world have come to expect of products bearing his name.
8 CDs with over 5 GBs of sampled string
instruments of superior sound
Natural concert hall ambience, true key
release action
A multitude of presets make arranging and
combining sections a breeze.
Complete orchestral strings - 8 double
basses, 10 cellos, 12 violas and 16 violins
Each section is provided in two versions
you can combine freely with other sections.
Suits all musical styles from classical to
contemporary; playing styles such as legato,
tremolo, pizzicato or spiccato
Top recording techniques with unobtrusive,
natural ambience deliver outstanding
sound quality with a warm character, well
defined tones and balanced bow sounds
Specially developed VST- and DXi-compatible HALion String Player allows full control over articulations such as crescendo,
bowing or portamento.
Additional HALion programs allow creative
editing and limitless combination with
other sounds in HALion.
Expressiveness, full dynamic range, up and
down bowing
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
32-bit VST Drum Module —The Ultimate Drum Machine
The LM•4 MarkII, a VST plug-in, recreates another of the classic beat-boxes of the
early 80’s. Heard on many a hit record of that period, the original was way too
expensive for most musicians. Today, Steinberg delivers a virtual recreation at a
fraction of the price. This was also achieved while combining intuitive handling
and maximum performance yet keeping CPU load to a minimum. In addition, the
LM• 4 MarkII comes with a huge range of high-quality 24-bit drum and percussion sounds that cover the most diverse music styles, from Latin and Rock, to
House, Electro and Drum’n’Bass. The multiple audio outputs are routed directly
into the VST system’s audio mixer, ready for EQ and effects. Functions such as
Drag & Drop and velocity switching make creating realistic and dynamic grooves a breeze. This makes the LM•4 MarkII the
most user-friendly drum module around.
32-bit drum module with 18 pads per set
ADSR envelope and reverse mode per pad
Precisely scalable volume envelope with
Attack, Decay, Sustain and Release (logarithmic, exponential, linear)
BitCrusher for creating the time-honored
vintage sound (powerful lo-fi effects)
Velocity, pitch and panning for each
instrument (automatable)
12 outputs (3 stereo and 6 mono assignable)
for each instance of LM•4 MarkII you have
loaded in your virtual rack
Create your own sets
The complete drum module and all settings
can be saved with the song (Cubase VST)
Virtual Concert Grand Piano
The challenge was to develop a virtual concert piano equal in quality
to an original acoustic piano, even including the “unmatchable”
playing characteristics. The result, The Grand - a top-quality virtual
concert piano with a breathtakingly rich and realistic sound, whose
tonal precision and outstanding dynamic qualities rival those of a
real, quality acoustic concert grand piano.
The Grand is not a digital piano, nor is it a ROM player that reels off
piano sounds. Rather it is a perfectly simulated grand concert piano
based on the sounds from a top-flight acoustic grand piano—guaranteeing you powerful bass, crystal clear mid-range and brilliant treble.
Easily record The Grand in the highest quality without the hassle of
tuning and miking—and with perfect integration into the VST system.
◆ Reproduces the thrilling experience that is
a large, grand piano. There are no loops or
audio compression. Absolutely realistic,
authentic sound based on an intelligent
VSTi engine optimized for a concert piano
◆ Various performance optimization features
to get the appropriate balance between
sound quality and system performance
◆ Playable with any MIDI keyboard
◆ Authentic functionality of sustain and
sostenuto pedals
◆ Complex variation of different sound characteristics such as dynamic response, dying
out of notes, hammer action and string
◆ Free variation of acoustic ambiance thanks
to complete separation of piano and room
◆ The Grand allows you tailor it perfectly to
your needs: freely programmable velocity
curves, four master tembres (Natural, Soft,
Bright, Hard), and well tempered or concert grand tuning.
Classic Virtual Analog Synthesizer
Exclusive sound banks created by synth
gurus Hubertus MaaB and Wolfram Franke
Make your own sound banks. Model•E
sounds richly analog, but offers sample
accurate timing for dynamite precision.
Up to 64 Voices per instance
8 outputs per instrument
128 memory slots per instrument
16 multi-timbral parts
All Model•E settings are automatically
saved with your song files and the final mix
can be streamed to an audio file
Restructuring Synthesizer by Wolfgang Palm
PLEX is a synthesizer based on an absolutely novel synthesizing
process. This process offers you almost limitless possibilities in varying
and creating sounds. The original sound is split into four
components, lower spectrum, higher spectrum, filter characteristics
and amplitude envelope, using a new audio analysis technique. Each
component can then be replaced and combined with other elements.
An example would be combining the sounds of a trombone and a
sitar with the envelope of gong. Just drag the Base part onto the
trombone, the Top part onto the sitar and the Filter part on the gong.
Doesn’t just sound great, it’s also surprisingly simple. It’s not only the
sounds you can create with PLEX that are revolutionary, the innovative and clearly structured user interface also sets new
standards in intuitiveness and ease-of-use.
◆ Developed by synth legend Wolfgang Palm
in cooperation with Steinberg, PLEX is
based on a new synthesizing technique that
gives musicians almost limitless possibilities
in varying and creating unique new sounds.
◆ Independent manipulation of four
integrated sound components: upper and
lower frequency spectra, filter characteristics
and amplitude envelope, while the
information contained in each of the
components is strictly separated from that
contained in other components.
◆ Each component can then be replaced and
combined with components from other
original sounds. This means that, for
example, the lower spectrum, or “Base”
component contains neither amplitude
envelope information nor filter characteristics. Replace any component you wish and
still produce a “natural”-sounding result.
◆ 97 special pre-analyzed sound sources acoustic, synthetic and filter characteristics
◆ Modulation section with stereo delay and
flanger effects
◆ Real-time swapping between components
of 33 sound sources
◆ 3 ADSRs, Global Pitch LFO as well as 3
LFOs that can be synchronized (besides
presets such as sine, square, sawtooth and
random, Plex also allows you to create
16-step sequences)
◆ Up to 64 voices, 300 presets included
◆ All parameters are MIDI controllable
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
The legendary analog sounds —without the restrictions
of a hardware synth. Load the Model•E into your VSTcompatible host application and put 16 synths at your
disposal. Create sounds that combine the best qualities of
analog sound synthesis with amazing timing accuracy,
deep basses, sweeping filters, three heavy-duty oscillators.
Model•E is triggered through MIDI tracks, allowing you
to automate every parameter without MIDI cables or
hardware interfaces. The virtual outputs appear directly
in the Cubase VST Mixer, so you can treat its sounds with virtual effects and EQs.
In the 80s, the PPG synthesizers and their wavetable
synthesis technology could be heard on countless records.
Their distinctive sound was an important influence in
many music styles. With the PPG Wave 2.V, Waldorf
and Steinberg offer an authentic recreation of the
legendary PPG Wave 2.3 synthesizer as a VST
instrument. That classy PPG sound is now more
affordable than ever and can be seamlessly integrated
into today’s computer-based production environments. The photo-realistic recreation of the original PPG look is combined
with a modern audio engine with superb audio qualities, simple user interface and full MIDI automation.
◆ Using wavetable synthesis is easy because it
isn’t much different from normal subtractive
synthesis. Creating new sounds is as easy as
replacing one wavetable with another. No
other form of synthesis offers such a simple
way of creating entirely new sounds.
◆ Almost 2000 waveforms (32 wavetables each
with 64waveforms) recreate the exclusive
sound of this classic synthesizer—with all
the advantages that an integrated software
production environment such as Cubase
VST and Nuendo have to offer.
◆ Includes over 700 pre-programmed
◆ Low Pass filter with Emphasis control
◆ Outputs appear in the VST mixer, which
means that it can be routed through
effects and EQ’s.
◆ Two oscillators per voice
◆ MIDI tracks are sent directly to the PPG
Wave 2.V, making cables and MIDI
interface completely unnecessary.
◆ Graphic display for envelope generators
and Cutoff/Emphasis allows quick and
simple sound editing
◆ Built-in Arpeggiator
◆ The number of voices (up to 64) is
limited only by CPU power. Up to 8
instances of PPG Wave 2.V can be used
at once (and each unit is 8-way
multi-timbral), giving you more than
enough creative power.
◆ Realtime MIDI control and automation
of all parameters
Continually setting new standards in sound quality and functional extras, Waldorf has had a decisive influence over the development of electronic music
instruments, and created new sounds which have in turn, helped shape modern music. For over 20 years now, Waldorf has been developing innovative
instruments such as microWAVE, Q, the avante-garde WAVE and the classic analog Pulse, allowing you to realize your musical ideas without any limitations.
VST Percussion Synthesizer
A true percussion synthesizer, Attack seamlessly integrates the classic visceral
80s analog sounds and the electronic club drums of the 90s into the VST
environment of the 21st century. Attack has 24 sounds available per
percussion set, spread over two octaves. It requires neither MIDI nor audio
cabling, however, all parameters are addressable via MIDI controller, and it
offers absolutely sample accurate timing. Treat your ideas to the Attack’s
sublime sounds. Your groove deserves it.
◆ Two oscillators, each with nine waveforms
(triangle, sine, square, sawtooth, sample
and hold, noise, hihat closed, hihat
opened, crash), represent the sources.
◆ Two integrated and synchronizable
Modulation Delays for the stereo outs
◆ All parameters addressable via MIDI
◆ Percussive bass and lead sound–
polyphonic playable
◆ Eight audio outputs (2 stereo, 4 mono)
◆ Twelve sounds of a drum set can be
played melodically. With this you can
create tom fills, conga grooves or other
percussions in no time. You can even
play bass, melody or sequencer lines.
◆ FM and Ring Modulation expand the sound
spectrum with a metallic component and FX
– ’Crack’-module for authentic analog hand claps
– 6 filter types with resonance up to selfoscillation and overdrive up +52dB
– 2 envelopes for pitch, FM amount, filter cutoff
and loudness
VST Rhythm Guitarist
◆ Intelligent fret noise for 100% authentic
guitar sound
◆ Follows the tempo of your song
◆ Flexible real-time variation (sound,
phrasing) with keyboard, mod wheel,
Aftertouch, Velocity
◆ Includes a variety a popular guitar sounds,
phrasing and styles including Spanish, Steel
String, Resonator, Clean Strat, Wah, power
chords and ultra metal
◆ Playable through MIDI, this VSTi creates
authentic, professional guitar tracks for all
styles—from country to metal.
◆ Variable playing - Shuffle (groove),
dynamic, timing (tight/loose), long chords,
syncopated rhythms
VST Rhythm Guitarist
and Effect Sound
29 different players, variety of guitars/amps
Virtual Guitarist “Electric Edition” is the perfect rhythm guitarist for
anyone needing electric guitar tracks. This VST instrument is based on real
recordings, yet is as flexible as a synthesizer. Featuring 29 new all electric
players from the 50s to the present day (recorded by top guitarist Thomas
Blug), Virtual Guitarist “Electric Edition” oozes authentic sound character
while offering unrivaled playability and outstanding tempo flexibility. Also
includes a fully featured multi-effect board, useable both as a separate
plug-in that you can use on any audio signal or integrated in the VSTi.
Select a player, some chords and it plays perfect tracks. Liven songs up with
options like syncopation, phrasing variations or long chords. Change shuffle
or dynamics, use track doubling or be creative with the supplied effects.
Vast range of electric guitar styles for all
kinds of music
Flexible real-time variation (keyboard,
mod-wheel, aftertouch, velocity
Variable playing - shuffle, dynamics,
timing, syncopation, long chords
Effects integrated into VSTi or separately usable as VST plug-in
Stereo width, track doubling and other
sound shaping options
Effects: Wah, AutoFilter, Chorus,
Flanger, Phaser, Delay, Reverb
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
◆ Acoustic and electric guitar performances
by 27 different players with 8 parts per
It’s always the same problem: Try calling a professional
guitarist in the middle of the night when you need a slick 12
string accompaniment for a ballad or a hard metal groove for
an advert soundtrack. Introducing Virtual Guitarist - a perfect
rhythm guitarist who plays both acoustic and electric guitar,
including all keys and difficult chords, never gets impatient,
follows the tempo of your song, sounds better, always plays
100% tight, and is always completely in tune. Of course, the
Virtual Guitarist doesn't need to set up his equipment or be
miked up, and integrates perfectly into your VST system.
VST Virtual Drummer
Groove Agent is a stunning VSTi that provides you with ready-to-go drum
rhythms in only a few mouse clicks. Groove Agent can play the hottest, most
popular and influential styles from the past 50 years of music history inside your VST host application. Based on quality drum samples most of
which were recorded especially to analog tape, Groove Agent puts a top
studio drummer at your fingertips.
Creating your own drum track couldn't be easier - just choose a music style,
a drum kit and you're off. Set the amount of drum room ambience, play fills
and half-time breaks. Groove Agent can play at over two dozen different
complexity levels, so you can create the right mood with your rhythm track
simply by moving a slider. Adjust volume, ambience, decay, tuning and velocity response individually for each instrument.
Over 50 musical styles (each with their own
drum style patterns), programmed by top
Swedish musicians
Combine any style with any drum
kit - instantly
Four unique drum kits plus percussion and
numerous electronic drum sounds
Separate dry and wet (ambience) samples
and 4 stereo outputs for total flexibility
User-configurable drum kits, including
tweaking of sounds
Fine-tune the overall feel with the Shuffle
and Humanize controls
24-bit drum sounds, most of them recorded
via analog tape
Save snapshots of your tweaks for easy recall
Up to two dozen complexity levels in each
style, including fills and half tempo feel
Combine any musical style with any
preset kit
Anyone who can’t do without their own
drum sounds but wants Groove Agent to
play their “live” drums for them can simply
record the MIDI output to a GMcompatible drum track and then use their
drum sample player of choice.
Multiple Synthesis VST Instrument
Imagine the best synthesizer you can and then multiply that by three.
Why? D’cota combines the power of three types of sound synthesis in the
compact editing environment of one synthesizer. All this in an
unprecedented sound quality for all three synthesis types, thanks to the
aliasing-free sound engine. Each of the three synthesis types offered by
D’cota has access to an arsenal of four freely assignable ADSR envelopes
and two assignable LFOs. The LFOs can also be synchronized to the song
tempo. The effect section adds the simultaneous power of delays, distortion
units and modulation effects. This exceptional synthesizer opens new
possibilities to create extraordinary sounds.
3 different synthesis: Advanced Analog,
Spectrum and Wave Impulse
Superb sound quality (aliasing free
8 times multi timbral with up to 128
voices, 4 stereo outputs
Multi FX unit with Distortion,
Modulation and Delay section
Advanced Random Mode
Ready to start sound preset included
VST Phrase Synthesizer
4-part multi-timbral polyphonic phrase
synthesizer, full loop and tempo-sync
capability (phrase oscillators, envelopes
and LFOs).
Each Timbre consists of: Phrase Oscillator
(32 cells) with individual note resolution,
amp section and multimode filter (lowpass, high-pass, band-pass and notch filters
with 12-72 dB slopes) with freeform
loopable envelopes, two additional
freeform loopable auxiliary envelopes, two
freeform LFOs, arpeggiator, unison mode.
Each Phrase Oscillator contains individual
waveform per cell, plus a maximum of six
assignable cell parameters, such as pitch,
cutoff, resonance, pan, level and more. Cell
parameter curves are freely mouse-editable.
Unlimited, freely assignable modulation
potential with full morph capability (one
controller controls multiple parameters at a
time, which can be adjusted individually).
Phrase playback can be fully adjusted for
each timbre: play and loop range
(start/end) can be adjusted on-screen,
switchable trigger/mute per cell, adjustable
cell crossfade/duration.
Performance controllable stereo insert
effects for each timbre from 24 effect types,
plus two master effects from six types.
Sample-accurate audio engine with 32-bit
floating-point resolution, 192kHz sample
rate, and 1024 voices/notes (256 per timbre).
Four assignable stereo outputs with vector
synthesis -- output mix can be controlled
via any assignable modulation source.
Supports VST Instruments, DXi and Audio
Units; compatible with Windows (98 and
higher), Mac OS 9 / OS X
Includes a pool of 256 preset phrases and
256 user phrases.
500 MB Wave ROM with more than 200
Imports AIFF and Wave samples, automap
function for multisamples
Integrated mouse-controllable keyboard
and wheels.
BPM Force
A software bundled designed for dance
producers, BPM Force includes Cubase SL
with three Waldorf instruments and filters
to offer everything dance music producers
need to make those crowd move.
Cubase SL includes the A1 synth for hammering
bass lines. Attack delivers the beats - this percussion synthesizer integrates the analog drum
sounds of the 80s and the massive club drums of
the 90s in your VST System. PPG Wave 2.V, the
second coming of a synth legend as a VST
instrument, offers everything from luscious synth pads to manic techno sounds. Last but
not least is D- Pole, with its 5 filter types that can morph any run-of-the- mill acoustic
drum loop into a heavy-duty dance groove. Available for PC and Mac OS X/9.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
Designed for computer-based musicians, arrangers and sound designers,
Xphraze brings together two worlds that have been separated for too long:
powerful sound shaping and real-time polyphonic phrase creation.
Easy to use, Xphraze lets you create rave chords, complex polyphonic
soundscapes, bass and lead riffs, sweeping pads and tempo-synced sound
effects. Simply drag a phrase from the pool, tweak the groove and sound,
play a note or a chord and listen as Xphraze textures kick in and move
perfectly in sync with the song. You can even drag in your own samples
and let Xphraze do it's magic to them.
But don't stop there -- you can also use real-time controllers and other sound-mangling tools to change the phrasing or sonic
character in ways that were previously unimaginable.
At the heart of this sample-based instrument is a flexible multi-timbral synthesizer engine, offering extensive sound-shaping
and real-time modulation possibilities. Powered by an integrated polyphonic phrase generator, Xphraze is capable of conjuring up any kind of rhythmical phrases like polyphonic chord patterns, drum grooves, bass lines and even tempo-synced synth
textures ranging from pads to arpeggios.
Software and Hardware Media Systems for the Creative Mind
Cool Breeze’s CSI (Cool School Interactus) series of CD-ROMs provide an easy-to-use and intuitive learning environment. The
structure of the CSi CD-ROMs allows the user to go at his own pace. A flexible interface encourages each user to customize his
learning path depending on his personal needs and desires. The novice through the veteran will find great benefit in using these CDs.
Made up of system designers, engineers, acousticians, programmers, musicians, composers and graphic artists, Cool Breeze offers
over 20 years of combined experience in digital audio operations, training, sluggin’ brews and systems design.
Vol. 1.1 Pro Tools Basics
Provides Pro Tools basics and a
broad fundamental education on
the operation of Digidesign digital
audio workstations. It’s beneficial
to anyone from the complete
novice to the partially educated, to
the old-school linear pro. This CD
features many Digidesign products,
and covers hardware/software
installation procedures and detailed
system configuration options.
Content covers basic concepts,
operation and functionality of Pro Tools, Sound Designer II,
and SampleCell II, also sound fundamentals, computer basics,
MIDI, and digital audio, Further education includes modules
on System Upkeep and Synchronization.
Vol. 2.1 Pro Tools Tips and Plug-ins
Features Pro Tools 4 software from
Digidesign and selected 3rd-party
Development Partners. It includes
screen element definitions with
click-state pop-up simulations for
Pro Tools 4 and plug-ins from
Antares, Digidesign, Focusrite, and
Waves. There is a massive glossary
of DAW related terms, including
DAE errors and over 50 movie
tutorials that include basic functionality, production techniques,
special short cuts, key commands, and before and after audio
examples. Over 150 quick keys and shortcuts are covered. No
special hardware needed, just a compatible Mac/Windows
machine. Pro Tools and CSi can be open at the same time.
Additionally, Vol. 1.1 and 2.1 include the “CSi AutoPlay” which launches CSi into an “autopilot” mode. Sit back, crack open a cold one, and
impress your friends as you soak in the info. The “AutoPlayer” can be disengaged and resumed at any time.
Vol. 3 Desktop Audio
Vol. 4 Logic Audio Training
A powerful guide covering the basics
of sound production on a computer,
whether you’re into music, postproduction or multimedia. Learn
the many concepts, elements, products and possibilities - and gain the
knowledge to put together the system that’s right for you. Topics covered: goals (where the authors help
you state your mission, and explain
& categorize the different types of
software and hardware), sound,
computers & operating systems from the audio perspective,
MIDI, digital audio, DAWs, plug-ins, synchronization, system
set-up & upkeep, even studio furniture, and much, much more.
Includes a searchable glossary of over 1,200 digital audio related terms, and is packed with swingin’ music, top-notch graphics, excellent interactive examples, flow charts, pictures, animations, before and after audio examples, video, diagrams, and
info-packed movie tutorials!
Whether you’re driving with Silver,
Gold or Platinum, this multimedia
CD demystifies and opens up the
vast capabilities, power and flexibility of Logic Audio 4. Get hip to the
basic concepts, operational ins &
outs, and new features. Vol. 4 combines the Cool Breeze vibe with the
practical expertise of Logic Audio
pros. CSi’s tutorials include basic
functionality, and real-world production techniques. Topics covered:
Logic Audio applications, system requirements, hardware &
software configurations & set-up, concepts of Logic Song,
Audio Objects, Instruments, Ports, Screen sets and much more.
Includes a searchable glossary of over 1,200 digital audio related terms, over 40 movie tutorials, loads of graphics, music,
flowcharts, video, before-and-after audio samples, and effective
interactive examples (software simulations with pop-up and
clickstate definitions).
For Any Inquiries Regarding Your Order, Call Our Customer Service:
(800) 221-5743 • (212) 239-7765 • FAX: (800) 947-2215 • (212) 239-7549
Vol. 6 Digital Performer V3
Whether you’re driving Pro Tools
FREE, Mbox, Digi001, Digi003, or
a big bad phat TDM rig, this CD
will help you get the most out of
your Pro Tools system. Sit down
with a DAW pro and learn about
the new features available in Pro
Tools 5. This CD includes screen
element definitions with clickstate pop-up simulations for the
Edit Window, Mix Window,
Transport and Menus. There is a
massive glossary of DAW related
terms, including DAE errors and over 50 movie tutorials which
include not only basic functionality, but production techniques, special short cuts, key commands, and before and after
audio examples. Movie Tutorials include the Smart Tool, Beat
Detective, MIDI Controls, Loop Record and more.
This Digital Performer training
CD-ROM covers the core
operations of DP version 3. Sit
down with a DAW pro and learn
concepts, production techniques
and the latest features from Digital
Performer 3. This CD-ROM
includes screen element definitions
with click-state pop-up simulations
for the Transport, Mixer, Sequence
Editor, MIDI Graphic Editor and
Menus. There is a massive glossary
of DAW. related terms, and over 40
movie tutorials. The Getting Started topic will take you
through set-up, first record, edit and mix. The CSi movie
tutorials are designed to include not only basic functionality,
but production techniques, special short cuts, key commands,
and before and after audio examples.
Vol. 7 Cubase SX
Vol. 8 - Pro Tools 6
Covers key operational techniques
and the cool features of Cubase. If
you prefer the “Show me” style of
learning, then CSi is for you. Sit
down with a DAW. pro and learn
concepts, production techniques
and the new options available in
Cubase SX. This CD-ROM is for
Mac and Windows users, and covers the Project Window, Transport
Panel, Key Editor, Drum Editor,
Track Mixer, Sample Editor, Pool,
and Menus. The Getting Started
topic will take you through set-up, first record, edit and mix.
The CSi movie tutorials are designed to include not only basic
functionality, but production techniques, special short cuts, key
commands, and before and after audio examples. No special
hardware needed, just a compatible Mac/Windows computer.
Covers key operational techniques
and the cool features of Pro Tools
6. Sit down with a DAW pro and
learn concepts, production techniques and the new options
(DigiBase, new MIDI options, Beat
Detective, DigiGroove templates,
and importing session data are just
of the few) available in Pro Tools
6. The Introduction topic will take
you through set-up, first record,
edit and mix. The tutorials are
designed to include not only basic
functionality, but production techniques, special short cuts, key
commands, and before and after audio examples. No special
hardware needed, just a compatible Mac/Windows computer.
This CD adds to the information covered on Pro Tools Basics,
Pro Tools Tips and Plug-ins and Pro Tools 5.
In addition to the hours of movie tutorials, Vol. 7 and 8 include a massive DAW related glossary and utilize the CSi MovieTutorial interface
to provide an easy to use and intuitive learning environment. Plus, the new CSi MT interface includes a title bar that allows you to easily
position the interface on your screen. If you’re lucky enough to have a big fat monitor or maybe two, you can smoothly switch between
Cubase SX or Pro Tools 6 and the CSi tutorials.
ORDER & INFO. (212) 444-5088 • FAX: (212) 239-7770 (800) 947-7008
1-800-875-6951 • www.bhphotovideo.com
For Vol. 5 and 6, no special hardware needed, just a compatible Mac/Windows machine. If you own a Pro Tools setup or Digital Performer
rig, CSi can be open at the same time. View a movie tutorial in CSi then instantly go to the software and try it yourself. Additionally, Vol. 5
and 6 includes the “CSi AutoPlayer” which launches CSi into an “autopilot” mode. Sit back, relax, drive with no hands and impress your
friends as you soak in the info. The “AutoPlayer” can be disengaged and resumed at any time.
Vol. 5 Pro Tools 5
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