RØDE NT4 AND NT5

Røde's NT4 ($899) is a stereo condenser microphone with a pair of ½-inch cardioid capsules in a 90-degree XY pattern. The mic comes with XLR and minijack connectors, and it runs on 48V phantom power or a 9V battery.

The Røde NT5 ($599) is a cardioid condenser microphone designed for instrument recording. The manufacturer touts its versatility, claiming suitability for guitar, flute, violin, reeds, and drums. The NT5 requires 48V phantom power, and it can be ordered in matched pairs with a custom carrying case, two standmounts, and two windshields.

The manufacturer reports a frequency response of 20 Hz to 20 kHz and a dynamic range of >128 dB for both microphones. The maximum SPL is 143 dB at 1 percent total harmonic distortion. Røde Microphones; tel. (310) 328-7456; Web www.rodemicrophones.com.

TERRATEC MIDI MASTER

The MIDI Master ($399) from TerraTec provides 49 Velocity-sensitive keys and a USB port for connecting directly to your computer. The keyboard also has a MIDI Out, so it can control MIDI devices without a computer.

In addition to a Data Entry slider, the MIDI Master has both a modulation wheel and a pitch-bend wheel. The Data Entry slider can be assigned to MIDI Control Change messages. You can select any of 13 Velocity curves, and you get buttons for transposing MIDI output and a switch for sending System Reset messages.

The keyboard features a ten-key pad for programming and ten nonvolatile user-memory locations for storing your control assignments. The MIDI Master can draw power from its USB port. However, you can use an optional power supply for standalone performance. TerraTec bundles USB drivers for Windows 98, SE, ME, 2000, and XP, as well as drivers for Mac OS 9. Fostex Corp. of America (distributor); tel. (562) 921-1112; Web www.terratec.net.

STEINBERG CUBASE SX

Cubase SX (Mac/Win; $799.99), from Steinberg, sports a redesigned audio engine and user interface, graphical parameter automation, surround-sound support, and more. The audio engine is based on code from Steinberg's Nuendo, and it can handle six channels of surround sound (stereo, “quadro,” LRCS, 3/2, and 5.1).

Cubase SX fully supports Steinberg's VST System Link, which lets you network computers to share heavy processor loads imposed by host-based digital-audio processing. For example, synchronization, transport, and MIDI data can be managed from one computer.

Cubase SX's Project Window replaces the Arrange Page and offers real-time drag-and-drop placement and editing of audio and MIDI data. In addition, you can have multiple projects open simultaneously. The Track Inspector now lets you add insert effects and adjust aux sends, pan, and volume without opening the mixer. A new toolbar provides access to commonly used editing tools, shortcuts to editing windows, and a built-in transport bar.

The redesigned mixer section offers three views: Standard, Small, and Extended. Individual widths can be defined for each channel view. It is now possible to bounce tracks to disk in real time or offline, which lets you use more effects than your host system would allow in real time.

The sequencer is compatible with earlier versions of Cubase, so you can import Cubase-created Songs, Arrangements, or Parts. Cubase SX supports MIDI plug-ins and includes an arpeggiator, a MIDI compressor, an echo processor, and a microtuning plug-in. You can also use Cakewalk MIDI plug-ins with Cubase SX.

Cubase SX requires a Pentium III/500 MHz computer with 256 MB of free RAM and Windows 2000 or XP, or a Macintosh PPC G3/350 MHz machine with 256 MB of free RAM and Mac OS X. Steinberg North America; tel. (818) 678-5100; e-mail info@steinberg.net; Web www.us.steinberg.net or www.cubase.net.

APOGEE MINI-ME

Apogee's Mini-Me ($1,395) combines a 2-channel mic preamp, two channels of 24-bit, 96 kHz A/D, and a line-level input in one portable device. The Mini-Me lets you choose sampling rates of 44.1, 48, 88.2, or 96 kHz. When it's connected to your computer's USB port, the Mini-Me automatically converts incoming data to the selected sampling rate. You can also choose 16- or 20-bit output at sampling rates of 44.1 or 48 kHz. The Mini-Me uses Apogee's UV22 HR dithering with word-length reduction.

The front panel has independent left and right level controls as well as a knob that controls the monitoring level. A three-way front-panel switch allows you to activate the unit's built-in compressor-limiter and to select between Soft-Limit/Compress and Soft Limit modes. A second switch lets you select three preset compressor/limiter curves. The Mini-Me provides a knob for choosing sampling rates and bit depth. The unit also has a 48V phantom-power switch and a button for selecting stereo or mono output. In addition, the button serves as a knob for balancing the direct-input audio with audio returning from the USB port.

Inputs are on balanced XLR/TRS combo connectors; the Mini-Me automatically switches to line-level input when you insert a TRS plug. Other connectors include AES/EBU and S/PDIF outputs, and an ⅛-inch stereo headphone jack for monitoring. The Mini-Me can draw power either from the USB port or from the provided external power supply. Apogee Electronics Corp.; tel. (310) 915-1000; e-mail info@apogeedigital.com; Web www.apogeedigital.com.

ANTARES KANTOS 1.0

Any monophonic audio signal is fodder for Kantos 1.0 (Mac/Win; $395), a software synthesizer plug-in for MOTU Audio System, VST, and Real Time Audio-Suite from Antares Audio Technologies. (A DirectX version should be available by the time you read this.) Interestingly, the synth doesn't use MIDI control, but rather pitch, dynamics, and timbre information from an external audio source. Default settings route pitch information to the oscillators, dynamics control the amplifier, and harmonic content controls the Timbral Articulator. The software, however, features a sophisticated modulation matrix, letting you route audio signal components to other parameters.

Kantos is loaded as an insert effect on your digital audio sequencer. You get an input-level control with measurements in decibels, as well as a real-time display of the signal's amplitude. A Gate Generator allows you to adjust threshold levels and sustain time for the signal. You also get an adjustable noise gate to remove any background signal noise.

Kantos offers a pair of wavetable oscillators and comes bundled with a collection of wavetables; you can create your own wavetables with just about any digital-audio editing software that supports AIFF file formats. Furthermore, you can download new wavetables from the Antares Web site. Kantos also includes a noise generator and a pair of sine-wave generators that track the wavetable's fundamental pitch. A Pitch Constrain keyboard lets you limit the pitch output of the signal. For example, you can constrain the output of the melody to a diatonic scale and remove vibrato from the signal.

The Timbral Articulator analyzes the harmonic content and formants of the audio input; you can use the Formant Offset and Resonance controls to reshape the audio signal's tonal characteristics as well as those of the wavetable. You also get a multimode resonant filter for each oscillator.

It's designed to process monophonic audio tracks, but you can feed polyphonic tracks into Kantos with interesting and useful — though less predictable — results. Even though audio input can control sound dynamics, Kantos gives you two ADSR envelope generators (EGs): a defeatable amplitude EG and an assignable modulation envelope. Envelope values are displayed in milliseconds. The synth also provides a pair of multiple-waveform LFOs, with frequencies indicated in hertz.

Kantos offers a variable-feedback delay line, which allows you to create rhythmic effects. You can set the delay tempo in bpm or with tap tempo. The output section features a submixer, which controls the internal sound sources, and a main mixer, where you can balance processed and unprocessed signal. You can load Kantos as a mono-in/stereo-out plug-in. You can load as many instances of Kantos as your processor can handle to create more straightforward polyphonic material.

Kantos requires a host program that supports at least one of the plug-in formats mentioned previously. Antares Audio Technologies; tel. (831) 461-7800; e-mail info@antarestech.com; Web www.antarestech.com.

ANALOGUE SOLUTIONS VOSTOK

The Vostok ($2,595), from Analogue Solutions, resembles the coveted EMS VCS3 synthesizer, with its suitcase-style design and front-panel patching matrix. However, the similarities end there. The Vostok offers a built-in MIDI-to-CV converter, two analog oscillators, one digital wavetable oscillator, and more.

The patching matrix gives you 484 patch points. Patching is localized in a small area on the front panel, enabling you to create complex patches without spreading patch cords all over the face of the unit. The matrix also provides patch points for connecting external devices.

The Vostok features a variety of control modules. You get two control-voltage (CV) modules: CV1 is hardwired to pitch and CV2 can be assigned to different functions, including gate, accent, and legato. Vostok sports a two-way joystick controller and a built-in, eight-step analog sequencer.

The Vostok has two voltage-controlled oscillators that can generate pulse, sawtooth, and square waves. You can modulate pulse width, and both oscillators offer sync and glide. The third oscillator has a digital wavetable with 256 waveforms. A '70s retro-style LED shows the selected wave sample number and the MIDI Note Number when played. A white-noise generator is also included.

The synth offers two multimode voltage-controlled filters (VCFs) that are based on the circuitry of the Korg MS20. The filters offer highpass and lowpass configurations with independent frequency cutoff settings, and you can combine the two filters to get a bandpass filter. There are two ADSR envelope generators; a dial lets you adjust envelope level continuously from full-on to inverted. The two LFOs offer a variety of waveforms, as well as voltage control over frequency. LFO 2 adds sample and hold, with and without a slew control.

The Vostok's amplifier module is wired in series with the VCF and offers ring and amplitude modulation. Output is on an unbalanced ¼-inch output jack. The suitcase enclosure has key lock latches with a carrying handle and a lift-off cover. Enport (distributor); tel. (402) 398-0198; e-mail info@analoguesolutions.com; Web www.analoguesolutions.com.

VIRSYN TERA

Tera (Mac/Win; $279) gathers 16 independent modular synthesizers, a sequencer, and a mixing console with an effects rack into a single software package. The synthesizer works as a VST2 plug-in or as a standalone instrument.

The 16 independent synths can employ one of five types of synthesis: virtual analog, waveshaping, physical modeling, FM, or spectral synthesis. Spectral synthesis deploys 128 resonant filters with real-time dynamic controls.

The Effects Rack offers as many as 48 effects at once. Effects include chorus, flange, phaser, distortion, echo, delay, and reverb. Effects appear as inserts in the mixing console.

The sequencer assembles songs from patterns, and patterns are created with the step sequencer or live input. You get as many as 64 steps per sequence. There is also a programmable arpeggiator, and you can control and dynamically automate as many as 64 parameters.

Windows users need a Pentium II/400 MHz computer with 64 MB of RAM; Windows 98, ME, 2000, or XP; and a DirectX and ASIO-compliant sound card. For the Mac, you need a PPC G3/300 MHz machine with 64 MB of RAM and Mac OS 8. By the time this goes to press, a Mac OS X version should be available. VirSyn Software Synthesizer; tel. 49-7240-202-956; e-mail info@virsyn.com; Web www.virsyn.com.

STEINBERG VIRTUAL GUITARIST

The Virtual Guitarist ($249) is a sample-playback VST Instrument dedicated to rhythm-guitar parts. The instrument comes on three CDs, providing more than 2 GB of styles, sounds, and playing techniques.

The guitar techniques include finger-picking, folk-style strumming, wah-wah rhythm parts, and heavy-metal riffs. The guitars are divided among two VST Instruments (electric and acoustic) and include Spanish, Steel String, Clean Strat, Wah, and Metal.

Steinberg drafted professional guitarists to lay down the styles and techniques; however, the virtual bodies of the instruments are adorned with guitarlike knobs that let you adjust performance parameters. The Virtual Guitarist allows you to vary phrasing, instrument tone, swing, and dynamics in real time. The program is compatible with Cubase, Nuendo, and other VST-compatible host programs. Steinberg North America; tel. (818) 678-5100; e-mail info@steinberg.net; Web www.us.steinberg.net or www.cubase.net.

AKAI DUOBUDDY

Akai's DuoBuddy ($349) offers a single voice of high-quality vocal-harmony processing in a stompbox. The unit has balanced XLR inputs and outputs as well as unbalanced ¼-inch outs. Akai claims there is no coloration of the sound when the effect is disabled. The Duo Buddy's tuning function lets you adjust the pitch of the processor to match other instruments, and the device will even generate a reference tone.

Each of the 18 programs has an associated key and style, and the unit comes with 12 factory and 9 user-programmable styles. A formant-control feature allows you to adjust the gender of the vocal harmony. Because duos rarely sing perfectly in sync, the Duo Buddy has an adjustable Random Delay feature that skews the timing of the harmony part to provide a more natural duo effect.

The DuoBuddy lets you arrange programs according to your setlist, and independent A/B buttons allow you to quickly switch between programs. Each program offers a substyle to accommodate changes in harmony. Akai Musical Instrument Corp.; tel. (800) 433-5627 or (817) 831-9203; e-mail info@akaipro.com; Web www.akaipro.com.