Exhibition Report Issue 9

Transcript

E X H I B I T I O N R E P O R T 16 EXHIBITION REPORT by Christopher Holder L A, Paris, and Homebush. They’re the three glamorous destinations I’ve jetted off to since the last issue of AudioTechnology. It was a fact finding mission to take in the NAMM show in LA, the AES exhibition in Paris and the Entech show in Sydney’s west. Did I find any ‘facts’? That would be an understatement, and I’ve got the excess baggage bill (for all the tons of brochures) to prove it. There were a few interesting trends evident, as there are at most significant trade shows. It became obvious that multichannel surround was gaining even more impetus. TC’s S6000 and Lexicon’s 960L are both addressing high-end multichannel reverb, while the Martinsound Multimax has helped give stereo console’s the chance to monitor in surround. Proprietary digital communication protocols are becoming more common. Ethernet and Firewire are the main candidates to host these new systems [see Second Word on page 14 for more]. And, bizarrely enough, the analogue synthesiser is making somewhat of a comeback. Alesis seem the most likely candidate to capture the imagination of the mass market with their Andromeda. There were a few genuine standout products as well. My short list would include: the Sony DMX-R100 digital console – which looks superb; the Roland VP-9000 Variphrase sampler – truly innovative and an unexpected treat; and the Yamaha AW4416 mixer/hard disk recorder – power and value, something Yamaha make a habit of offering. Recording Y amaha’s AW4416 is an all-in-one recording system. In a nutshell it’s a 24-bit, 16-track digital recording system, which includes mix automation, sampling, mastering capabilities, and a bunch of other facilities. The AW4416 offers various storage options – including an internal hard drive and CD recorder, as well as a SCSI interface for data backup to an external drive. On the mixing and DSP side, it’s more of an 02R than a 03D or 01V, with full 32-bit DSP capabilities, 44 fully-automated audio inputs (16 of which are from the internal hard drive), 17 motorised faders, four fader and mute groups, eight bus and eight aux sends plus stereo, and stereo cue buses. All 44 inputs – including eight analogue and 16 digital inputs via optional interface cards – contain digital attenuators, four-band fully parametric EQ, and direct out assignment. Certainly the AW4416 looks to be a project studio’s dream. In the lead up to NAMM the Sony’s new DMX-R100 was dubbed Son of Oxford – alluding to its Sony OFX-R3 ‘no expense spared’ digital console pedigree – and it certainly created a buzz. It’s a compact, 48-channel mixer with comprehensive feature set that includes 25 motorised faders, a sophisticated control panel with touch-screen control, a fully integrated package of automation and digital routing matrix and machine control. The DMX-R100 offers 24-bit quality and the ability to operate at both standard and high sample rates. A large centre section gives you full ‘one knob per function’ control over bus assignment, dynamics control, EQ and aux routing. All tweaking is shown on a large SVGA monitor, ‘zooming in’ into the relevant screen as soon as you touch, say, the EQ controls. The DMX-R100 is fully equipped to handle 5.1 surround sound, with features like six dedicated monitor outs and simple real-time touch screen surround sound panning. The faders are fully automated, touch sensitive and feature 10-bit resolution. I could go on and on. The DMX-R100 will probably be priced around $30k in Australia, and I have to say, it looks like great value. Roland expanded their VS hard disk recording range with the VS1880 which features 18-track playback, 24-bit A/D and D/A converters, and faster CD burning via a dedicated CD-RW mastering button. Also from Roland and slightly leftfield was the HandSonic HPD-15 hand percussion pad. The idea is to play rhythms with your hands, using triggers based on Roland’s V-drum technology. It uses a 10-inch rubber pad with 15 triggers. I played with this and want one. No question. Akai have given their DPS range new life. The DPS16i offers ‘affordable’ 24-bit/96k recording. There’s also a bunch of editing, mastering, mixing and recording tools. The 16i features 56-bit internal signal and effects processing, a 10GB internal hard drive and some sophisticated time-stretch features, among other things. The DPS12 has also been given a facelift and boosted to ‘i’ status. Tascam has progressed its Portastudio format in a interesting manner with the introduction of the US-428 24bit digital audio workstation controller. Essentially combining a hardware interface with computer functionality, the US-428 interfaces with both Windows and Mac-based sequencing platforms via a Universal Serial Bus (USB) port. Mackie, always one to spot a niche, were demonstrating the HDR24/96 hard disk recorder. Here’s a brief rundown of some of the features: 24 tracks (192 virtual tracks at 48k) for up to 90 minutes of recording; built-in hard drive plus a pull-out bay for a removable drive; mouse, keyboard and monitor ports built-in (no computer required); the on-screen graphic interface mirrors front controls and meter bridge; built-in editing software, built-in 100baseT ethernet port; user definable I/O configuration; and built-in internal word clock, SMPTE, black burst, NTSC and PAL sync. Being a Mackie, the HDR24/96 will doubtlessly be keenly priced and will go up against Tascam’s MX2424 [see our news pages in Volume 2, Issue 1], as well as more established upper-end HD recorders like Otari’s RADAR. Amek took the wraps off its new Media 51 audio recording and production console, the company’s first mid-priced analogue mixer for more than five years, and the first entry-level multiformat desk with a Rupert Neve sound. Seasound is probably a name you haven’t heard of, but demonstrated some interesting new gear. The Solo is a rackmount/PCI card combination, where you route your studio inputs to the digital domain via 24/96 converters. It’s basically a PCI card on steroids. Steinberg debuted their Nuendo, an eight I/O 24-bit A/D D/A conversion system. The system features up to 128 tracks of digital audio, 24/96 audio support, surround sound mixing, one video track, Midi tracks and what Steinberg calls ‘the most comprehensive functions for digital audio available’. The Nuendo specs look good, and Steinberg, being who they are, will offer plenty of E X H I B I T I O N R E P O R T Tribal rugs, scatter cushions & Gold record not included :-) (*) Mixing & recording packages start from $300 a day For funky retro tube gear or the latest high tech digital audio equipment. From a single microphone right through to complete 48-track mobile recording and mixing packages (including cables, headphones & blank media). For a day, a week or for as long as you need. Studio FX Pro-Audio Hire & Sales can meet all your pro-audio needs Call 02-9281-0272 Corner of Waine & Riley St.,Darlinghurst NSW 2010 www.studiofx.com.au email: [email protected] I O N R E P O R T 18 software support. Already there’s the likes of the Nuendo Media Production System, for the post pro and multimedia sector. Fostex showed off their VF-16 16-track digital multitrack. It’s another variation on their rather good VM/VS gear, and looks to fly the ‘portable studio’ flag for some time to come. The MOTU 1296 is a professional audio interface equipped with the 24-bit, enhanced multi-bit 128x oversampling 96k converters. The 1296 achieves a respectable A-weighted signal-to-noise ratio of 117dB with balanced XLR connectors throughout. MOTU also announced the 24i, a 24-input analogue audio interface for computers that will be sold as an expander for 2408 and 1224 hard disk recording systems and as a complete core system. Phonic had an interesting new eight-bus console on show. The MR3686 is built as a 5.1 surround/matrix mixing desk. It’s designed to output to a 5.1 surround speaker system, and takes a six-track decoded surround source. There’s even 360 degree surround sound panning control. SSL introduced the Mix Track 24-bit, 96-track hard disk recorder as an integrated option for the Axiom-MT. It functions under direct ethernet control from the console. Soundtracs has combined digital mixing and hard disk recording editing in the DS-M. The DS-M combines a 64-channel DS3 digital mixer with a modified SADiE system. Apogee Electronics introduced the AP8AD and the AP8DA, which are for Yamaha digital systems equipped with YGDAI expansion slots, such as the 02R. The A/D card includes Apogee’s proprietary Soft Limit technology to deliver high levels without digital overs. They’re both 24-bit converter cards, and support 96k. Korg premiered a cross-platform version of their OASYS PCI – which integrates synthesis, effects processing, and computer audio I/O into a single, PCI audio card that complements any Midi sequencer or softwarebased DAW. Its onboard DSP power helps relieve the burden normally placed on the host CPU when using plug-ins and applications providing similar functionality. One to watch. Echo have updated their sisterhood of cards. The Gina24 offers 24-bit/96k recording, a dynamic range of 115dB and distortion under .002%. I/O is covered by ADAT optical and S/PDIF digital I/O. RRP: A$1,399. Gina’s big sister, Layla, has been given the 24/96 treatment as well. Layla features true differential, balanced outputs and a ‘superb’ headphone output. ADAT lightpipe and optical S/PDIF are now included. RRP: $2,499. If that wasn’t enough, Mona has been added to the range. Using a ‘unique combination’ jack, Mona provides ‘universal’ inputs for microphones, +4dBu balanced line level signals, and high impedance guitar pickups. Mona has analogue trim controls and input meters easily accessible on the front panel. The gain ranges change automatically according to the type of inputs being used. RRP: $2499. Creamware’s Pulsar DSP audio card and software is now available for Apple Macintosh computers. The new version be functionally identical with the PC version from day one. Synths T he Alesis Andromeda was not something that the pundits had expected, I think that much is evident. It’s a 16-voice truly analogue synth with full Midi control. There’s two oscillators per voice, with five waveforms available, suboscillators, hard and soft sync. The control surface features 72 knobs, 144 buttons, 61-note keyboard, ribbon controller with multiple assignable functions. There’s a large backlit display. There’s 16 outputs, extensive modulation matrix, and portamento with nine slopes. In short, the Andromeda looks like a real beast, harking back to the days of the Jupiter 8, or Oberheim OB8. The sound of it is brutish as well. Every year sees a new rumour of a MiniMoog reissue. Big Briar, Bob Moog’s current company, has promised to produce a new improved MiniMoog for the next century. Tentatively called ‘New Performance Synth’, Moog has kept the basic functions of the MiniMoog, except with Midi control and open-system patching. I doubt whether we’ll see it in Australia, but German company, Touched By Sound, have produced the truly analogue six-voice Mephisto synth. Features include three oscillators, two filters, ring modulator, sample and hold unit, two LFOs, 100 presets, 36 motorised(!) pots, filter input and full Midi functionality. Korg introduced a new MS Series synth: the MS2000, which recreates the analogue sounds of the past using the latest DSP technology, and adds functionality reminiscent of Korg’s VC-10 vocoder and SQ10 analogue sequencer. The MS2000 featuring a 44-note velocity keyboard, and the MS2000R 4U rackmount configuration, both utilise a DSP-powered analogue modelling system (based on that used in the Prophecy, Z1 and Electribe series), refined to produce a wide range of analogue sounds. All major sound creation parameters are available on the front panel, with 35 dedicated knobs providing the ability to create and manipulate sounds in real-time. Check out our review in the next issue of AT. Korg also expanded their Electribe range with the addition of the Electribe-S rhythm production sampler. It offers sampling, resampling, signal processing and sequencing capabilities. Novation is rolling out spin-offs of their Nova/Supernova analogue modelling concept. The Nova II sports 21 knobs, four sliders and 128 switches, 512 user programs. It’s six-part multitimbral and up to 36voice capable. There’s 42 effects available, a 42-band vocoder, and two analogue filter inputs. Ensoniq offered the ZR-76, pursuing the workstation concept. There’s 1200 sounds, (including those from their TransWaves synthesis), drum machine, 16-track recorder, and 24-bit effects. E-mu weighed in with another swag of 1U speciality boxes of sounds. The B-3 64-voice tone wheel organ sounded particularly good, but there was also the Xtreme Lead-1 synth featuring techno/electronica soundsets, a powerful filters and BPM rhythmic capabilities. Also on offer was the Mo’Phatt ‘urban dance synth’, and the Virtuoso 2000 128-voice Virtual Orchestra. Effects & Processors R oland’s VP-9000 was a real head-turner. It’s called a VariPhrase Processor and it looks likes permanently changing sample-based music production. The unit is capable of capturing audio and providing real-time manipulation of pitch, time and formant using Midi control, while maintaining the original sample’s sound quality. For example, if I sang ‘start spreading the news’ into the VP-9000 in a monotone, I can then, via a Midi keyboard/controller, playback the sample using any tune I like, changing notes mid phrase or adding harmonies and pitchbend – all without changing the timing and intonation of the original sample. This baby is going to save many people hundreds of hours of programming time I can tell you. I’m just hoping they repackage the VP-9000 as part of a new generation Roland sampler. Most people knew about TC’s System 6000 multichannel reverb but fewer people had heard much about Lexicon’s new surround sound contender, the 960L. I saw and heard both systems in action and both were very impressive. Both use a remote with touch sensitive motorised faders. Lexicon’s LARC2 has the advantage of a joystick, which most people associate as being a useful tool in the world of multichannel audio. TC’s Icon remote has a larger touch screen with more detailed metering. Both company’s are trumpeting their new proprietary 3D spatial modelling algorithms – TC’s VSS5.1 and Lexicon’s 3DPM Technology. Currently my impression is that TC have a slightly more integrated package of surround sound optimised effects and multi-channel mastering processes, while Lexicon have done a great job of combining a number of 480L units to give purchasers a Lexicon option. Either way, both will be very popular, I’m sure. It had to happen. Line 6 have released the POD Pro, a professional implementation of the POD digital guitar processor. It features 32 Amp Models and 16 Cabinet Models that can be used as is, or mixed and matched to create custom sounds. With 24-bit AES/EBU, S/PDIF digital out, word clock, 44.1/48k operation, unprocessed guitar output, and line level Input, POD Pro is wellequipped to perform in professional recording environments. RRP $1999. The API name has been given a new lease of life recently. Both the 3124+ and the 3124m+ are fourchannel preamps, with the 3124m+ featuring an audio mixer as well. These units use the same mic preamp circuits that is used in all API consoles. They look to be very professionally built and spec’ed. Amek’s Pure Path designs were given an introduction. The Channel In a Box (CIB) was the first cab off the rank, combining a mic preamp, line input amplifier, high and low pass filters, four-band EQ, and a fully-featured compressor. The mic pre, filters and EQ stages are virtually identical to those of the Amek 9098i in-line console, including familiar features such as ‘Glow’ and ‘Sheen’. The Driver In a Box (DIB) and Stem compressor are also in the range. All the designs were the work of a certain Mr. Rupert Neve. Aphex Model 1100 is a discrete Class A tube mic preamp with 24-bit/96k A/D. The 1100 is part of Aphex Thermionics range, and professes to offer 20dB more headroom than conventional preamps, allowing you to record hotter tracks. The PreSonus M80 is an eight channel mic/instrument pre featuring high quality Jensen transformers, FET, class A discrete input buffers and twin servo gain stages. It aims to be a quality front end to your DAW, among other applications. E X H I B R E P O R T E X H I I O N R E P O R T Mindprint introduced the DI-Port, a 24-bit A/D D/A front end in a 1U half-rack. It features a 106dB noise floor and aims to improve any two-track recording by bypassing inferior converters. Meanwhile the new TComp stereo tube compressor is designed to add warmth to digital recording. It features a Filter button which activates a certain type of frequency conscious compression mode in the sidechain for a ‘more balanced and natural’ compression. Phonic’s range seems to get bigger and more ambitious as each month goes by. Brand new is the DEQ5000 digital EQ and RTA, and the DCL4000 digital dynamic processor. These units use 32-bit DSP-based technology, and 24-bit converters. ARX were demonstrating their new bright idea, the ‘epre’. It’s designed as a mic preamp for hard disk recording, the advantage being that it can slip into a spare 5.25-inch slot in the computer’s chassis, and can run on your computer’s power supply. Neat idea. Drawmer released the Mercenary 1969 valve compressor, based on the 1960. Burr Brown op amps have been chosen to replace the original discrete ones, and a polarity reversal switch available in DI, mic and line modes, increases its versatility. Tubetech showed their new SMC2A, an all tubebased multiband opto compressor. It features variable crossover frequencies between the three bands. Each band features separate ratio, threshold, attack, release, and gain control. No doubt, this will be on many mastering engineers’ wish list. Software C Steinberg Reason 20 reamware are now rolling out affordable spin-offs of their Scope and Pulsar packages. The Power Sampler is a professional DSP sampling system. You get a PCI card, stereo analogue I/O and stereo S/PDIF I/O, and a well-spec’ed sampling software package. The promise is: low latency (1ms to 2ms), all the features of hardware samplers, full-screen editing, 32-bit processing, huge sample library and more. BIAS have released Peak 2.1. The new version features include: faster sampling rates, and ASIO support (so now it works with any ASIO compatible soundcard). Steinberg introduced a set of software synthesiser developed by The Propellorheads. It’s called Reason, and it’s a combination of an analogue synth, a sampler, a drum machine, mixer, effects, pattern sequencer, and a ReCycle!-based loop player. Steinberg have also released some interesting software synths, one based on the PPG Wave and the other on the legendary SCI Prophet 5. Emagic announced the EXS24, a polyphonic software sampler. The EXS24 reads existing sample formats and features a swag of editing and DSP functions. The trick here is that you can integrate into Logic Audio’s (v4.0 and upwards) internal mixer so you can access the Logic plug-ins etc. Emagic have released v4.2 of Logic Audio, which includes sample accurate sync, Roland VS support, and further enhancements to the score editor, sequencer and audio engine. If you’re v4.0 owner, log on and get the upgrade for free. Digidesign were showing off the new Access Virus TDM plug-in, which looks to be virtually identical in sound and core functionality to the Virus family of hardware synths. Digi were also demonstrating the RealVerb 5.1 from Kind of Loud. It features the ability to map reverb spatially for surround mixing and can morph between room shapes and textures. Soundscape has the Aphex Exciter Type III and Big Bottom Pro plug-ins to show off, as well as the new CompressorX plug-in from Sonic Timeworks, the CEDAR De-Hiss process, and MasterTools from Apogee which offers their proprietary dithering algorithm, the UV-22 word-length reduction process, for Soundscape. Audio-Genetics showed their new Alkali TDM plugin. It’s a powerful and instant Loop Laboratory, drawing on REX file technology to make any of its loops fit any tempo in your song. This loop laboratory is for Mac applications, including ProTools, drawing inspiration from Acid on the PC. Microphones T here was a good deal of interest in Rode’s new NT3, which features transformerless output, internal capsule shock mounting, a true condenser capsule, and a hyper cardioid polar response. CAD added to their range with the M Series. The M177 and M277SP are similarly spec’ed mics that use the externally biased 1.1-inch gold sputtered E-300 capsule. The M177 is a cardioid, while the M277VP has an adjustable polar response. Neumann’s Series 180 of miniature microphones are the company’s successor to the KM83/84. There’s three mics on offer. The KM184 is a cardioid and has been around some time and gained a good deal of popularity, while the newer KM185 is a hypercardioid, and the KM183 is omnidirectional. Beyerdynamic’s SHM88 is a condenser mic with a E X H I B I T I O N R E P O R T slimline housing designed to make it virtually invisible from a distance. The SHM88 has a back-electret capsule for clear speech transmission and low feedback. Audio Technica debuted the AT4047/SV, which is said to deliver sonic characteristics reminiscent of early FET mics. It’s a cardioid condenser for studio applications. Also new is the AT849 stereo boundary mic, designed to provide full, natural stereo ambience for surface mount applications in broadcast, professional recording and sound reinforcement. Alesis added three condensers to the GT Electronics AM Series line. The AM30 and the AM40 are both slim, front address mics for instruments and guitar amps, while the AM11 is a large diaphragm model for vocals. The new Microphone Kit Type 3531 is new omnidirectional microphone from DPA Microphones. It’s supplied as a complete kit with suspension mount, windscreen and pop-filter as well as the state-of-the-art Microphone Amplifier Type HMA4000 and a special microphone cable. The Type 3541 also introduces a completely new versatile modular capsule and preamplifier system. Monitoring T he Fostex NF-1’s new ‘scrunched up’ LF driver design is immediately striking. It’s actually called a ‘hyperbolic paraboloid’ (HP) diaphragm, and Fostex assures us it’s all for good design reasons. The soft dome tweeter uses proprietary technology as well, while inside the cabinet HP reflectors prevents the generation of standing waves. The monitors come in passive and active biamped flavours. Genelec introduced their 2029B digital stereo monitoring system. It’s an XLR, AES/EBU 24-bit/96k version of their 2029A 24-bit/48k active monitor. The system comprises one right ‘master speaker’ and one left ‘slave speaker’, with stereo adjustment controlled by a single volume knob on the right master speaker. Event’s 20/20/15 System Subwoofer (A$2,999) is built as the core of a professional full bandwidth surround sound monitoring system. It features a 15-inch driver and 250W of power. A smaller 20/20/12 ($2,499) is also available. Event’s new Project Studio series of biamplified direct field monitors were also on demonstration. Three models are offered: the PS5 ($1,599 a pair), with a 5.25-inch polypropylene low frequency driver and 25mm silk dome neodymium high frequency driver; the PS6 ($1,899 a pair), which features a 6.5-inch polypropylene woofer and one-inch silk dome tweeter; and the PS8 ($2,299 a pair), with an 8-inch polypropylene woofer and 22 one-inch silk dome tweeter. All are biamplified, with 100W of power (70W Low/30W High) per speaker. KRK Systems announce the new V6 active studio monitor, following up on their successful V8 design [see AudioTechnology Volume 1, Issue 5]. The V6 monitors are cheaper and more compact, but should offer the similar sonic advantages as the V8. Also in the V Series is the V88, which follows the V8 design but adds a second eight-inch woofer for larger low-end response. The dome tweeter is new, with its elliptical waveguide for an ‘extra wide’ sweet spot. PMC has moved into compact active territory with the AML1, which offers sub 35Hz performance from a very small cabinet. Only the highest quality audiophile components have been used, the amplifier and crossover designs are licensed from Bryston, and feature a dual 120W amplifier. Yamaha’s MSP10 studio monitors and companion SW10 powered subwoofer system were on display. The MSP10 powered monitors are now available in a vibrant Maple Sunburst colour (MSP10M) – goes well with my guitar. Beyerdynamic introduces a new, low cost, closed system headphone with ‘superb’ audio quality and a lightweight design. With a frequency response from 20Hz to 18,000Hz and a power handling capacity of 112dB SPL, the DT231 is ideal for audio monitoring in the home recording or project studio. Its closed system design reduces unwanted bleed through during overdubs. DAS Audio have returned to their studio monitor roots with the Monitor Series: a line of compact, yet ‘surgically’ accurate mid and nearfield monitors aimed at recording and broadcast studio monitoring. The two existing speakers in the expanding line, the Monitor 6 and Monitor 8, differ only in the size of their woofers which are, as their names suggest, 6.5 inches and eight inches, respectively. E X H I B I T I O N R E P O R T 24 Live Sound C AD have introduced mic packs for the drummer and the live sound pro. There’s a choice of four, six, seven and nine-piece percussion packs at entry level prices. The DSM-1 is CAD’s new patented shock isolation mount for miking drums. Shure unveiled the Beta 87C. Responding to quieter stages arising from the use of inear monitoring the 87C aims to deliver studio grade performance and a smooth extended high-end frequency response in a cardioid condenser design. Shure also exhibited its PSM400 personal monitor system and P4M personal mixer. The PSM400 aims to provide more control over their in-ear mixes, while the P4M is a mixer optimised to work with the PSM. The likes of Beck, Korn and Tom Jones seem to think that Shure have done something right. DAS Audio added two new models to its Reference Series line of installation-oriented loudspeakers, while upgrading the entire line with a new catalyzed polyurethane paint finish and offers enhanced weather protection for outdoor use. Neumann’s KMS105 aims to offer the Neumann sound to the sound reinforcement environment. With its supercardioid polar pattern, low self noise and colourless off-axis pickup, the KMS105 complements in-ear monitor systems. The mic employs a four-layer acoustic filter to minimise popping and wind noise. Electrovoice introduced a new line of N/DYM mics. The N/DYM mics have been redesigned to offer greater performance, using Vocal Optimised Bass (VOB) technology, the N/DYM mics provide the performer with reduced resonant distortion at the low-end by damping the LF resonant peak that contribute to any muddiness. Electro-Voice also released their Dx38 sound system processor. It provides 48-bit filter performance, and 24bit A/D D/A conversion. Its two-in/four-out configuration makes the Dx38 the ideal controller in any two-, three-, or four-way loudspeaker application. Yorkville introduced new models to the Performance Series Enclosures, including the Y1185 passive subwoofer and the Y150M stage monitor. BSS have updated the software for their SoundWeb, with new DSP processing objects, including: stereo parametric equalisers and an ambient noise compensator. Their Omnidrive Compact will also prove to be popular, no doubt. Midas launched the Heritage 1000 a compact frame live performance desk. Phonic unleashed a range of low cost outboard, including graphic EQs, a crossover unit, a dynamic processor and a zone mixer. Also on offer was the UPHO1.15 integrated mixer/powered speaker. It’s compact, uses a light weight moulded cab, takes two mic and two line inputs, and supplies a hefty 600 watts of power to the 15-inch LF driver and 75 watts to the HF unit. Spirit have tinkered under the bonnet of their popular 328 digital recording console to come up with the 324 Live. It’s a 32-input digital mixer (16 mic/line inputs plus 16 TDIF digital inputs), with AES/EBU and S/PDIF I/O, four group and four matrices, and an automation system tailored to the rigours of live sound. ATI displayed their new Paragon II monitor console. The P2 (as it’s been dubbed) is a 64-input automationcapable monitor mixing console. Capable of up to 20 stereo monitor mixes, it’s suitable for in-ear and/or wedge monitor mixing. Each input also offers four-band parametric EQ, ATI compression, and parametric noise gate. Allen & Heath put the spotlight on their M5000 console [see last issue’s news pages]. Yamaha introduced the Se Series line of affordable, high-performance live sound speakers. Designed as fullrange high output systems for speech or music, the Se Series should satisfy the needs of sound reinforcement professionals, gigging musicians, small clubs and houses of worship. QSC have added four-channel versions to their CX contractor range of amplifiers. The three new models, CX254, CX404, and CX204V, incorporate QSC’s PowerWave switching power supply technology to virtually eliminate noise and hum. Their PL2 range was also released, carrying the Powerlight name into the next millennium. Three new rackmount CD players put Marantz Professional CDs firmly in the touring markets. Designed to provide the operator with all the facilities and rugged reliability for FOH touring racks the new players incorporate, instant start, frame accurate search and cue, a disc jamming protector and large back-lit transport buttons. Behringer have released their Ultra-DI DI100. This DI box is active and should handle any sound source you might want to throw at it. It’s been tremendous to see the Australian Monitor marque making a real revival. The company was bought out by Audio Telex who seem to be giving it the kick start it needed. Don’t be suprised to see new Australian Monitor amps back with a vengence.