FONG ELECTRONIC SONICEYE

In the personal studio, it is frequently difficult to locate the weak link in an audio chain. Fong Electronic's SonicEye ($40) makes that procedure easier with a device you can keep on your key chain.

The SonicEye sports an unbalanced ¼-inch plug, a power-indicator LED, and three LEDs that indicate signal level. Plug the device in to the output jack in question and press the power button, and the LED shows you the signal strength when an audio signal is present. The LEDs indicate levels at -32, -22, and -16 dBu, but the manufacturer provides instructions for soldering modifications that enable evaluation of pro-audio-level gear.

The SonicEye runs on the type of miniature 12V battery that is used for powering car-alarm key fobs. According to the manufacturer, the included battery will last for approximately 2,000 operations. Fong Electronic; tel. (208) 898-6442; e-mail info@fongelectronic.com; Web www.fongelectronic.com.

BRAUNER PHANTOM C

Transamerica Audio offers Dirk Brauner's Phantom C ($1,380), his first Field Effect Transistor (FET) mic. The mic is a large-diaphragm condenser with a fixed cardioid polar pattern. Brauner designed the mic for vocals and voice-over use.

The microphone boasts 8 dBa self-noise with 28mV/Pa cardioid sensitivity and 142 dB SPL at 0.5 percent total harmonic distortion. The two-inch gold-sputtered mylar diaphragm is housed in a heavy, professional-grade, hand-machined brass case plated with nickel.

A specially designed shockmount lets you remove the mic easily while also retaining effective isolation from the stand or boom. The shockmount and a carrying case are included with the microphone. Transamerica Audio Group (Drawmer, API, Brauner); tel. (702) 365-5155; email sales@transaudiogroup.com; Web www.transaudiogroup.com.

STEINBERG PLEX

In cooperation with Steinberg, Wolfgang Palm has developed Plex (Mac/Win; $249), a VST software synth. Dubbed a “restructuring synthesizer,” Plex creates sounds by combining physical characteristics of different instrument types. The synth is capable of 64-note polyphony but is not multitimbral.

Plex analyzes the original instrument sample, which is encoded in a proprietary format to produce four sound components: lower and higher spectral properties, filter characteristics, and amplitude envelopes. Each element can be swapped with the characteristics of another preanalyzed source to provide natural-sounding hybrid instruments, according to Steinberg. The synth can freely swap any of the four elements of 33 sound sources in real time.

Plex offers three ADSR envelopes with values for rates and levels expressed in milliseconds and decibels, respectively. Three LFOs offer programmable modulation assignments and sync to MIDI Clock, and a global LFO modulates pitch. Filters are based on the unique harmonic characteristics of each source file. The manufacturer describes the filters as being made up of individual spectra that you can play back in sequence, much like a film. Sounds receive additional burnishing with stereo delay and flange effects.

You get 97 preanalyzed sound sources — chosen for their acoustic, synthetic, and filter characteristics — and more than 300 preset patches. Currently, the software does not offer end-user sound-analysis tools. All parameters respond to MIDI Control Change messages.

Plex requires a VST 2.0 — compatible host program and, on a PC, a Pentium III/600 MHz processor, 180 MB of RAM, and Windows 2000 or XP. Running Plex on a Mac calls for a Power PC G4/400 MHz machine with 180 MB of RAM and Mac OS 9 or OS × 10.2. Steinberg North America; tel. (818) 678-5100; e-mail info@steinberg.net; Web www.us.steinberg.net or www.cubase.net.

ROLAND XV-2020

The half-rackspace Roland XV-2020 ($695) has a sample-playback synthesis engine based on earlier XV-series synths. Its four-oscillator-per-patch architecture draws on 64 MB of waveform ROM culled from the XV-5050 and XV-5080 synths. The XV-2020 supports the GM2 specification and includes two card slots that accommodate Roland's SRX-series expansion boards, allowing a total of 192 MB of waveform ROM. You get as many as 64 notes of polyphony, and the unit is 16-part multitimbral.

As with other XV synths, you can configure the four oscillators in a variety of signal paths called structures, which offer routings that include ring- and cross-modulation processing. You get up to four multimode filters per patch. The filter types include lowpass, bandpass, highpass, and a peaking filter. The XV-2020 has four-stage filter and amplitude envelopes.

The XV-2020 includes 40 effects such as overdrive, modulated delay, and enhancer, in addition to eight types of chorus and reverb. Preset memory provides four banks of 128 patches, 256 GM2 sounds, 8 rhythm sets, and 9 GM rhythm sets. Patches are combined in two banks of 64 Performance memories. User memory holds 128 patches, 4 rhythm sets, and 64 Performances. The XV-2020 comes with XV Editor software (Mac/Win), which gives you access to all synth parameters.

A USB jack lets you connect the XV-2020 to your computer. MIDI In, Out, and Thru jacks let you press the unit into service as a basic MIDI interface or connect the unit to a non-USB MIDI system. The synth provides stereo unbalanced RCA outputs and a left and right pair of unbalanced ¼-inch output jacks. Roland Corporation U.S.; tel. (323) 890-3700; Web www.rolandus.com.

MACKIE BABY HUI

Unable to resist a pun, Mackie Designs has dubbed its newest DAW control surface the Baby HUI ($799). The unit retains most of the features of its larger sibling in a smaller footprint. It sports eight channel strips, each with a 60 mm touch-sensitive motorized fader, a multifunction rotary encoder, mute and solo buttons, and a signal LED. The rotary encoders control pan or send levels; pushing the encoder down lets you select and arm channels or engage automation. A shift button allows controls to perform additional tasks. A familiar tape-recorder-style interface handles navigation chores and includes Return-to-Zero and End buttons.

The Baby HUI works with any software that supports Mackie's HUI MIDI Mapping protocol. The current roster of compatible digital audio workstations includes Pro Tools and Digi 001, both from Digidesign; Digital Performer from Mark of the Unicorn; and Steinberg Nuendo, as well as Mackie's Broadcast Professional Soundscape 32 and Mixtreme.

MIDI In and Out connections are provided. The rear panel also contains a jack for the included external power supply. Mackie Designs; tel. (800) 898-3211 or (425) 487-4333; e-mail sales@mackie.com; Web www.mackie.com.

CIRCULAR LOGIC INTIME

Playing along with MIDI tracks is often likened to working with a band that doesn't listen very well; a MIDI sequence will trudge on at an unyielding, inflexible pace despite human variations in timing. Circular Logic believes that its InTime 1.05 (Win; $119) tempo-tracking system can turn the tables on that syndrome and return tempo control to the musician.

With InTime, you can record a sequence with a natural feel. The program follows your tempo and creates a tempo map. Composers can import sequences into notation software for an accurate transcription of the performance and its associated tempo changes. The software provides sensitivity controls that govern how closely it follows tempo changes. You can assign MIDI events to toggle tracking features on and off.

InTime also lets any prerecorded MIDI sequence follow tempo variations in live performance. A tempo-limiting feature sets upper and lower tolerances for tempo fluctuations. Groove Tracking lets you play around a relatively steady tempo and impart subtle changes in tempo and feel.

You can use InTime to sync external clock-driven devices such as hardware sequencers or drum machines. Using MIDI loopback software, InTime can control software sequencer tempos.

InTime requires a Pentium 200 MHz computer with 64 MB of RAM and Windows 98, 2000, ME, or XP. A Mac version should be available by the time you read this. Circular Logic; tel. (561) 302-4320; email info@circular-logic.com; Web www.circular-logic.com.

WEBSTER AUDIO SAMPLEMOVE

Creating samples of your MIDI synthesizers can be a tiresome and draining process; the problem of capturing multiple samples with precise durations and consistent Velocities is equally daunting. Webster Audio's SampleMove (Win; $129.95) is a utility program that reduces the majority of that task to batch-file processing.

You simply tell SampleMove which devices are connected to your MIDI and digital audio interfaces, select programs, choose sample pitches and durations, choose a drive and folder, and press record. SampleMove dutifully moves through your MIDI system, sends the assigned Note On and Velocity messages, and then records and stores samples as AIFF or WAV files. The software can record multiple synthesizers by transmitting Program Change and Bank Select messages.

SampleMove saves files for each patch in an individual folder that is automatically named after the sound. Samples contain note name and octave information, which makes it easier to map samples to the proper key. Minimum system requirements for SampleMove are a Pentium II/233 MHz computer with Windows 98 and 32 MB of RAM. A Macintosh version is in development. Webster Audio; tel. (510) 533-9959; e-mail ebiz@websteraudio.com; Web www.websteraudio.com.

SAMSON S-CONVERT

Samson Audio refers to its S-convert ($164.99) as a “bump-box” because it provides an interface for matching audio levels between consumer and professional audio gear. Housed in a small stackable case, S-convert provides +4 dBV to -10 dBu audio level converters. The RCA inputs run at -10 dBu; the XLR outputs and inputs run at +4 dBV. Both sets of I/O have a level control. The unit comes with a 12 VAC adapter. Samson Technologies Corporation; tel. (800) 328-2882 or (516) 364-2244; e-mail sales@samsontech.com; Web www.samsontech.com.

MOTU 2408MK3

In conjunction with the included PCI-424 card, MOTU's 2408mk3 ($995) provides up to 24 channels of 24-bit, 96 kHz digital I/O. The unit provides a hefty amount of digital I/O to integrate hardware digital mixers, MDMs, or external A/D/A converters.

The PCI-424 card lets you link as many as four MOTU audio interfaces and expand to as many as 96 audio channels. Because the unit's onboard CueMix DSP assumes your host computer's audio-buffering, mixing, and monitoring burdens, it provides monitoring latency equivalent to that of a digital mixer. The fact that the DSP engine is built in to the card means any digital audio interface connected to the PCI-424 card shares the low-latency monitoring benefits, including legacy interfaces such as MOTU's 2408, 2408mkII, 1296, 24I, and others.

The 2408mk3 offers built-in SMPTE and video synchronization. You can choose Longitudinal Time Code (LTC), PAL/SECAM, NTSC, or blackburst. The interface includes a dedicated RCA timecode input and output. However, the PCI-424's onboard DSP lets you use any analog input for SMPTE, and timecode can be sent to any digital or analog output.

You can switch analog input stereo pairs to accommodate +4 or -10 dB levels independently. Individual front-panel 5segment meters let you monitor every analog input and output. You also receive a separate volume knob for headphones and main outs.

MOTU provides AudioDesk recording software (Mac), which relies on the MOTU Audio System (MAS). However, the unit is compatible with other Mac and Windows DAW software. The package includes drivers for ASIO (Mac/Win) and Sound Manager (Mac) as well as GSIF and WDM (Win). You also get CueMix Console (Mac/Win), an onscreen mixer that you can use in conjunction with any recording software.

The rear panel sports seven banks of I/O: one bank of eight balanced ¼-inch jacks, three ADAT optical ports, three Tascam TDIF ports, and coaxial S/PDIF I/O. Other connectors include word clock I/O, ADAT sync input (on the PCI-424 card), a ¼-inch stereo headphone jack, and a pair of balanced ¼-inch monitor outs. Mark of the Unicorn, Inc. (MOTU); tel. (617) 576-2760; e-mail info@motu.com; Web www.motu.com.

YAMAHA AW16G

The most recent entry in Yamaha's line of portable digital studios (PDS) is the AW16G ($1,299), a 16-track device that offers 128 virtual tracks and lets you record 8 tracks simultaneously. The AW16G records at a 16-bit, 44.1 kHz sampling rate bolstered by 24-bit A/D/A converters and 32-bit internal processing. The AW16G offers two multi-effects blocks, and every channel has independent dynamics processing and 4-band EQ. You also get a library of 13 types of mastering effects.

The AW16G writes and stores data to a built-in 20 GB IDE hard drive. You can master your projects directly to the included CDRW16G CD-RW drive or use the drive to back up or import song data or WAV files. The AW16G's file format is compatible with the AW4416 and the AW2816.

The AW16G includes a memory area for up to 180 seconds of loop recording. The Loop Sampler provides 16 flash-memory locations divided into four banks for samples; four pads let you trigger samples and record in a separate memory area. You can then paste the aggregate performance into a track. The unit's loop-slicing function lets you adjust the tempo of sampled grooves without changing pitch. The Sound Clip loop feature occupies a separate area on the hard drive, so you don't burn up a recording track until you're ready to commit the results.

In addition to a master fader, the PDS provides individual faders for eight mono tracks and four stereo track pairs. A set of five knobs enables you to adjust parameters for EQ, dynamics processors, the two effects blocks, and pan position for the selected channel. You also get a four-axis set of cursor buttons and a rotary encoder. The knobs and faders transmit MIDI Control Change messages and are programmable, making them useful for controlling external sequencers and synths. The unit also receives and responds to Control Changes for automated dynamic mixing from an external sequencer, and you get scene-based automation with 96 scenes per song.

Inputs include two XLR analog jacks with defeatable 48V phantom power, half a dozen balanced ¼-inch jacks, and a high-impedance ¼-inch jack for guitar or bass. Analog outs are a pair of unbalanced ¼-inch jacks for left and right monitor out, a ¼-inch stereo auxiliary out, and a ¼-inch stereo headphone jack. Digital I/O is on S/PDIF optical connectors. You also get a ¼-inch TRS jack for a footswitch input. Yamaha Corporation of America; tel. (714) 522-9011; e-mail info@yamaha.com; Web www.yamaha.com.

AKAI VST PLUG-INS

Akai has entered the virtual signal-processing arena with a new line of VST plug-ins. DecaBuddy (Mac/Win; $149) adds four harmony parts to the incoming signal. Additionally, the plug-in doubles the original line and each of the harmonies. To thicken and humanize the output, all voices can be independently assigned a slight random delay or pitch shift. You can generate harmonies using preset or user scales or MIDI Note data. The plug-in also offers a Formant function that provides vocal gender changes without painful surgery. That function can also randomize formants for each voice independently.

Pitch Right (Mac/Win; $149) is a real-time pitch-correction plug-in. Individual controls govern the amount of pitch correction and vibrato correction (Smoothing) and calibration of a reference pitch. The Smoothing algorithm does not affect the transition time between notes.

Rotator (Mac/Win; $149) models rotating speaker cabinets. Default settings capture standard rotation speed values, which you can alter 25 percent in either direction. The plug-in provides controls for overdrive and distortion and mic simulation with 0- (mono) to 20-degree placement and distance controls.

Quad Comp (Mac/Win; $149) is a 4-band compressor/expander. Akai claims that the unit's filters split the signal into four bands with no phase shift or characteristic distortion. You can choose 1 of 13 frequency presets for each band and select crossover slopes of 6, 12, and 18 dB per octave. To get you started, Akai provides useful presets for different applications, which you can alter and save.

D.C. Vocoder (Mac/Win; $149) offers 50 frequency bands for individual processing. You can adjust the level of individual bands. The software features an internal six-voice synthesizer along with a modulator signal, so you can use the plug-in without external input. You also get a formant function for changing female voices to male or vice versa.

Running the plug-ins with a Windows host requires a Pentium II/400 MHz with 128 MB of RAM and Windows 98, 2000, ME, or XP. Mac users need a Power Mac G3/266 MHz with Mac OS 8.5 and 128 MB of RAM. Akai Musical Instrument Corporation; tel. (800) 433-5627 or (817) 831-9203; e-mail info@akaipro.com; Web www.akaipro.com.