DIGIDESIGN NEW PRODUCTS Page 3

MUSIC TECHNOLOGY DIRECT

LATE FALL 1998 ISSUE
TASCAM TM-D1000 DIGITAL MIXER
Delivering Functionality and Value
Lets say it right up front. After all, theres nothing to be ashamed of: Everyone wants one of the hot new digital mixers! Problem is, not everyone has the big bucks required to own one of these amazing new units. Fortunately, TASCAM, one of the most widely recognized names in professional audio, introduced its all-new TM-D1000 Digital Recording Mixer at this year's NAB show in Las Vegas. With an unbelievable list price of just $1199 (thats not a misprint), the TM-D1000 offers musicians just about every important feature except one: The high price tag. Designed to integrate with all DTRS format recorders, the TM-D1000 re-defines studio functionality and can easily claim its position as the most versatile and affordable compact digital mixer available. Designed for home recording enthusiasts, project studios and off-line editing suites, the TM-D1000 is a 16-channel, full digital mixer that will soon be revolutionizing small studio operations everywhere. The best news? The TMD1000 is available right now we have them in stock here at Sweetwater in our giant warehouse, ready to ship right to your door. Get set to change the way you work. And be prepared for great sound quality and that incomparable TASCAM reliability. So what can you expect from your new TM-D1000? Well, start off with four XLR microphone inputs with phantom power (+48V), eight channels of TDIF-1 digital I/O, dual XLR AES/EBU digital outputs and two RCA S/PDIF digital outputs. The unit also comes standard with a digital external input, analog TRS balanced and RCA unbalanced stereo outs and up to 128 scenes (which are combinations of EQ, Aux, Pan, Mute, and Effects setups) which can be memorized and instantly recalled from the front panel or via MIDI control. Combined with the ability to run your recorders directly from the mixer via MIDI Machine Control (MMC) messages, this new mixer will make recording in your studio faster and simpler, Continued on Page 2

INSIDE THIS ISSUE:

G&L GUITARS
Arguably, nobody was more influential in the entire history of modern electric guitars than Leo Fender. The list of his accomplishments is staggering. Though he sold his original company to CBS in 1965, he returned in 1980 to building the kind of guitars he has always been known for when he formed G&L Guitars. Whats so special about these instruments? And why do many feel that these are tomorrows classics?

SEE PAGE 4

AES Show Report
Our own David Stewart spent hour after hour cruising the exhibit halls at the 105th Annual AES Show to bring you the very latest information on whats new and whats hot! His exclusive report is inside.

SEE PAGE 6

Kurzweil KDFX
If you want the finest, world class reverbs and effects for your K2500, you want a KDFX. Whats so special about this upgrade? Check out Daniel Fishers report in this issue for all the exciting details! SEE PAGE 8

Antares Auto Tune ATR-1

You demanded it, so they took their incredibly powerful pitch correction plug-in software and made it a stand alone module. See why industry experts (like us) say its perfect pitch in a box. SEE PAGE 11

ProControl for Pro Tools|24
EXCLUSIVE FIRST LOOK! SEE PAGE 2
PLUS: Mackies Digital 8Bus Mixer, Alesis M20/CADI System, the LSR Monitor line from JBL, Soundware Scene AND MUCH MORE!

Sweet Notes

Late Fall 1998

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TASCAM UNVEILS 24-BIT DA-45HR DAT RECORDER
When we get to talking about the ultimate in audio quality, we automatically think mixer or other analog device. This outstanding recorder also features the ability to manually 24-bit, right? TASCAM, a company who truly understands the professionals need for ultra adjust both the input and balanced output levels for optimum settings (a very cool feature in our book!). For communicating digitally, both the AES/EBU and S/PDIF digital protocols are high resolution audio, introduced the worlds very first 24-bit DAT recorder at this past Summer NAMM Show. The crowds reaction? When can I get one? The answer is now! fully supported, enabling the DA-45HR to communicate with mixers, DAWs and other recorders. As you would expect, the recorder also provides Word Sync In and Thru for easy connecThe incredible new DA-45HR ($1999 list) is able to record true 24-bit audio data on a standard DAT tape. Setting what is clearly a new standard in mastering technology, the tion to the latest generation of digital recording consoles. There's even a 15-pin parallel 3U rackmountable DA-45HR features XLR balanced and RCA unbalanced analog I/O, AES/ interface for added control via fader starts or General Purpose Interface (GPI). For convenient searchEBU and S/PDIF digital ing through program mateI/O, Word Sync I/O and a parallel interface, all of rial, the DA-45HR provides TASCAMs hot new DA-45HR, the worlds first 24-bit DAT Recorder a shuttle wheel and a conwhich ensures easy intevenient 2-point memory / gration into the most locate function. These feademanding production tures enable you to quickly environments. and easily find a specific The new DA-45HR's interface is both new, yet audio segment, mark it and later locate back to that familiar, taking advanposition with a single buttage of proven hardware ton push. design, but with an enNavigating the DAtirely new software ar45HR's operating system chitecture. The units menu-driven environcouldn't be more intuitive. The units menu layout ment features an easymakes it easy to access and to-read, comprehensive edit the numerous system parameters. The DA-45HR even provides alphanumeric character fluorescent display that promotes intuitive operation with easy access to its numerous system parameters, including AUTO ID, COPY ID Select, Reference Level setting, Record entry for naming program selections. Auto ID level can be set at -48, -54, -60 or -66dB. Copy ID select provisions give you the ability to protect tapes from further duplication, a thoughtMute and Repeat functions. The DA-45HR has two recording modes, enabling you to take advantage of the ful feature. Reference levels can be defined at -20, -18 or -16dB and Record Mute time is variable from 1 to 8 seconds in 0.5 second increments. The recorders Repeat function ranges recorders 24-bit capability or maintain backward compatibility with first-generation 16from 2 to 15 times with added support for free or unlimited repeat capability. The DA-45HR bit decks. When operating in 24-bit mode, a standard 120 DAT tape yields 60 minutes of recording time. If the machine is functioning in 16-bit standard mode, the tape will yield a also provides Single, Skip and Program play modes for added flexibility when working with multiple audio tracks. For added control, the RC-D45 Remote is available as an option. full 2 hours recording time. Supported sampling frequencies include 44.1 and 48kHz. When it comes to A/D and D/A converters, the new DA-45HR absolutely defines the With outstanding audio quality, a wealth of features and the ability to integrate into any audio production environment, the new DA-45HR clearly reinforces TASCAM's commitment current state-of-the-art. Featuring 24-bit analog to digital converters and 20-bit digital to to being the world leader in DAT recording. Want one? We thought so. Just pick up the phone analog converters with dither, this outstanding master recorder as expected sounds and give us a call here at Sweetwater. Your Sales Engineer can fill you in on all the details and terrific. With its 24-bit A/D capability, the DA-45HR is capable of recording 24-bit audio via provide you with availability information (the DA-45HR may be in short supply for a while either its analog or digital inputs. The DA-45HR will integrate into virtually any audio production environment. With due to the huge demand, so dont wait on this one) plus your very special low Sweetwater XLR balanced and RCA unbalanced analog inputs and outputs, it will easily connect to any price on a DA-45HR for your studio.

WE ACCEPT EVERY MAJOR CREDIT CARD! We make it easy to get the gear you need! Call us at (219) 432-8176

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There are a lot of companies out there these days touting their computerbased hard disk recording systems. Truth is, many of them are pretty great. But when you look at which company literally pioneered the entire concept of using a computer to do audio recording, only one name comes to mind, and thats clearly Digidesign. Year after year, innovation after innovation, Digidesign just keeps on finding new ways to make recording with your personal computer faster and easier and sounding better than ever. Here at Sweetwater, were shipping Pro Tools|24 systems in record numbers and we have a feeling that more and more musicians, engineers and studio owners will be installing a system of their own soon, particularly with the introduction of Digis new ProControl Advanced Control Surface (prices start at $11,995 not cheap, but as we all know, the best rarely is). ProControl is a modular hardware control surface that adds tactile mixing and editing capability to Pro Tools systems, meaning you can touch it, grab knobs and faders, push buttons, etc. It interacts with Pro Tools software via the DigiFader moving faders and 25 high resolution, 8-character scribble strips plus dedicated switch and encoder controls (including control room monitoring and talkback). In essence, ProControl serves as a comprehensive front end for Pro Tools TDM mixing, editing and DSP processing, and serves as the only mix controller in the users (uh, thats you!) work environment. Its modular design allows you to configure a system that perfectly suits your needs and budget. In fact, recording, editing and mixing with ProControl will totally change your concept of what to expect when working with a fully integrated, pro Digital Audio Workstation. The Pro Tools TDM system contains some of the most powerful mix automation available on any digital system, regardless of price. This includes Write, Touch, Latch and Read modes for fader levels, pans, sends, mutes, plug-in parameters and more. ProControl provides access to this mixing power through Digis Patent Pending DigiFader moving faders and dedicated function switches and encoders. Literally every parameter capable of automation in Pro Tools TDM systems can be controlled right from the ProControl surface. Fader and send levels, pan position, scrub/shuttle and transport control, edit tools/modes and plug-in access and editing are all available from the ProControl surface. Control room and studio monitoring of stereo or surround sound Pro Tools mixes is also provided. ProControl even includes an integrated Trackpad for those rare times when you need to access an item on the Pro Tools graphic interface. Located in the Main Section of ProControl, the Channel Matrix contains 32 dedicated, illuminated channel buttons, 4 bank switches, the Channel/Group LED Display and other function buttons which allows you to quickly navigate through large Pro Tools sessions. Using the matrix, you can view the status of functions like solo, mute and record readys on channels which are not currently displayed in the Fader Section. In addition, you can quickly scan a large console configuration in order to locate a specific channel(s) and immediately re-configure the Fader Section to display the desired group of channels. Theres a lot more youll want to know about ProControl if youre a Pro Tools user (or even if youve been considering the purchase of a Pro Tools system). And please, try to disregard the fact that the ProControl unit will look so totally cool in your studio we know youre beyond such superficial things. So if you want to know more, we suggest a simple call to your Sweetwater Sales Engineer for all the inside information and (of course) your special pricing on a ProControl unit or even an entire Pro Tools System. (The fine print: Digidesign products are not available in all areas, so consult your Sales Engineer before ordering).

Digidesign ProControl

Advanced Control Surface for Pro Tools Systems
The Best Hardware for Your Software

PROJECT II

The number one reason most computer-based project or home studios fall short of professional standards is you guessed it! sound quality. There are plenty of digital audio sequencers on the market that make it easier than ever to record, edit, mix, and master your music with a computer. But without high quality input/output, the result of all your hard work will be sub-standard, regardless of how much editing and tweaking you do. Enter the Digidesign Project II card: An incredibly affordable ($799 list), professional computer interface card by the industry's leading digital audio workstation manufacturer. The Digidesign Project II card is designed to work seamlessly with all the leading digital audio sequencer applications, and the same Digidesign I/O audio interfaces the pros use. The Digidesign Project II card is a half-size, plug-andplay PCI computer card with a single 60-pin peripheral port. If you're already using one of the major digital audio sequencer applications, the Project II card (combined with a high performance Digidesign I/O interface which is sold separately) is the best way to improve the sound quality of your studio. Project II supports a variety of applications for Macintosh and Windows NT environments. The key to Project II's flexibility is a technology called Direct I/O, which makes it possible for your digital audio sequencer to communicate directly with your audio interface, without the intervention of Sound Manager on the Macintosh or the Multi-Media Engine on Windows. This means all your computer's processing power can now be used by your sequencer, while Direct I/O handles your audio. Digidesign paved the way for higher sound quality in digital audio workstations by introducing the industry's first true 24-bit system, so it should come as no surprise that the Project II card gives you the option of working in either 16-bit or 24-bit. Keep in mind that 24-bit support will also depend upon the software and interface you use it with. Whichever combination you choose, the Project II card will deliver every bit of sonic performance because you're getting the same high quality converters used by audio professionals in creating today's hit records and blockbuster film soundtracks. If you want to be a player, don't settle for second best. Use what the professionals use, at a price you can afford. Call us immediately for more information and your special low Sweetwater pricing on a Project II card of your very own.

5335 BASS RD. FT. WAYNE, IN 46808
FAX: (219) 432-1758 sales@sweetwater.com www.sweetwater.com

(219) 432-8176

Sweet Notes Late Fall 1998 Page 4 truss rod stability of Leo Fenders Bi-Cut When the final history of electric neck construction and the simple, yet guitars is ultimately written, one of the elegant Dual Fulcrum Tremolo System. most important chapters will be on deAs if all this werent enough, each velopments that occurred in Southern and every G&L instrument comes with California in the 1950s and 60s and the a 10 Year Limited Warranty for the origiinstruments being designed by Leo nal owner. Obviously this says an awFender. From Country & Western to Surf ful lot about the confidence the commusic and beyond, the guitars being pany has in their instruments. built in Fullerton, California had an enorAs usual, we dont have an awful mous impact that no one could possilot of space, but lets get a quick overbly have predicted at the time. view of all the G&L models, starting with Yet even when Mr. Fender sold the their popular ASAT line (prices start at $1100 list). One look at the distinctive shape original company that bore his name in 1965 (which was, believe it or not, just the second year the Beatles were together), its possible that even he didnt recognize the of this instrument and you know youre getting all the vintage vibe you can possibly handle, along with a variety of modern upgrades that include Magnetic Field Z-Coil significance of his achievements. By 1968, electric guitars were selling like crazy. It pickups (on the ASAT Z-3) and the G&L patented Saddle Lock fixed bridge (standard seemed that everyone either played guitar or wanted to play guitar. Though contracts prevented Leo from being involved in making guitars or amplifiers, or lend his on most models). There are even semi-hollow versions available, as well as two models with dual humbuckers. name in any fashion to any competitive prodAccording to George Fullerton, 40 uct from 1965 to well into the 1970s, many years ago, my partner and I created the important events took place during this time, worlds most famous guitar. Then we including the birth of the super-group. You had set out to make the worlds best. The the British invasion, Woodstock, Eric Clapton result is the standard Legacy ($1099 and Cream, Jimi Hendrix, Led Zeppelin, The list), Legacy Special with dual blade Who and on and on. humbuckers ($1300 list), the S-500 with In about 1980, however, Leo decided to G&L Magnetic Field single coil pickups get back into the guitar business and formed ($1300 list) and the Comanche, which a partnership with his long time friend (and sports those distinctive Z-Coil pickups. co-designer of the legendary Stratocaster) At the top of the line is the George FulGeorge Fullerton. They decided to call the comlerton Signature Model with three pany George & Leo, or G&L for short. They sweet G&L vintage style Alnico V single knew the competition; Leos former company coils and Georges signature right on the was a giant in the industry. So they decided to upper bout ($1450 list). specialize in high quality guitars. They decided If electric bass is your instrument, that there would be no manufacturing comG&L has no less than eight superb modpromises and no imported guitars at all. They els to choose from with list prices startalso decided that there would be no cheap veing at $990 for the LB-100, a modern neers or fake flame finishes. In fact, every one take on a tried and true bass design. of their guitars would be hand-built in the USA Theres even an ASAT Bass at Leos facility located on believe it or not (with optional metal flake fin Fender Avenue in Fullerton, California, a ish). At the very top of the line place where legends truly were born. is the amazing L-2500 CusFact is, G&L had no choice but to make a tom 5-String with dual better guitar than their main competitors. If humbucking pickups and the they didnt, there would probably be no way G&L active/passive TriTone to sell them given the market dominance and electronics that let you dial reputation of Leos former company. Today, 18 in just about any bass years later, every single G&L guitar is still consound imaginable. Incistructed of solid real wood with top quality dentally, fretless necks parts, all built by hand by real people, not (with or without ghost machines. Every single guitar and bass is hand lines) are available at no excut and shaped from the finest woods, caretra charge on G&L basses. fully sanded by hand and flawlessly finished. Top photo (left to right): Legacy Special, George Fullerton Signature, Legacy and S-500. Bottom (left to right): Two ASAT We think that from the first moment you pick up a G&L Even the pickups are hand wound. Classics and an ASAT Deluxe. At right: The G&L L-2500 Bass guitar or bass, youll feel the magic that comes from only the Where the average production line guivery finest instruments. Musicians who have played every kind of guitar over the tar today is built in less than four hours, G&L guitars take more than a day, so you years are feeling again the long-forgotten excitement and thrills as they play a G&L. have to figure these are people who actually take pride in how archaic their operation actually is (theres not a robot in sight). But a G&L guitar isnt just carefully built And players who are picking out their first high quality guitar are in awe of the quality and playability of these fine instruments. And by the way, if gorgeous wood is your to exacting standards, its also meticulously set up for proper string height, action and intonation. And this isnt done by consulting a set of specs its done by musicians thing, we should mention here that many G&L models come with optional Curly Maple who actually use their ears to tell them when the intonation is dead-on and the tops and Birds Eye Maple necks. you know, just in case youre into such things. Yes, there are a lot of very fine guitars to choose from these days. But if youre action is so perfect that a players fingers will literally fly over the fingerboard. While G&L guitars are designed and built to the same high standards as those looking for an instrument with that special Leo Fender magic, combined with excepthat were crafted in the 50s and 60s, they also have some features that are unmistak- tional playability, incredible tone and the industrys only ten year warranty, may we ably '90s, like the improved performance of the pickups. Yes, you still get the silky suggest that you take a serious look at the fine guitars from G&L. Your Sweetwater Sales Engineer will be happy to work with you to find exactly the right instrument in smooth highs and velvety lows of those vintage pickups, but you also get remarkably lower noise and lightning fast transient response thanks to the many subtle (but our extensive inventory that has the features, color and finish youre looking for at a special price that wont have you playing the blues! important) changes Leo and his team made over the years. Theres also the improved

Q: I just purchased a new computer based DAW. How often should I back up my hard drives? A: Every single chance you get. Murphys Law will always come into play sooner rather than later. If you go for long periods of time working on a file without saving it, the potential for a total crash and the loss of all your information increases exponentially. Backups are your friend! You might find that constantly saving and backing up is time consuming, but ask yourself this: How many hours of work on a project can you afford to lose? Fortunately, weve moved way past the point where backups were done onto 3.5" disks. So get in there and back up now! Q: I recently installed a SCSI-3 Ultrawide host adaptor into my PC and Im experiencing communication problems while configuring it to work with my SCSI-2 CD burners. What are the possible issues when combining SCSI-3 and -2 devices in a chain? My understanding is that SCSI is backwards compatible, and I wasn't anticipating any configuration issues. A: When using an Ultrawide host adaptor and connecting to a SCSI-2 device, you'll need to use a special pass thru adaptor/terminator between the host adaptor and the SCSI-2 devices. While there are other cables available that tie the extra pins to ground at the SCSI-2 end, using one of these will not allow you to selectively assign which devices in the chain are SCSI2 or SCSI-3, and at this point everything on the buss will be running at SCSI-2 speeds not what you want! Once you've inserted the adaptor / terminator, you need to go into the SCSI Bios for your host adaptor (on bootup) and disable Ultrawide support for all SCSI-2 devices in the chain. While in the Bios, you also need to disable the SCAMS. At this point there should be no communication issues. Another viable option is to add a second host adaptor, and in some instances this may be desirable. Q: I just bought a new Zip drive from Sams Club and its not working with my Kurzweil. Help! Whats the problem here? A: Zip and Jaz drives are available in SCSI and Parallel port models. As it turns out, Sams sells the parallel port model. Unfortunately, your Kurzweil requires a SCSI model. Hope you saved that receipt. Q: Do I need a CADI if I want SMPTE, MIDI, or Video sync signals for my Alesis M20 digital multitrack? A: No. Unlike the BRC, a CADI is actually a duplicate of the front panel controls of the M20 and does not have the sync functions inside it. The M20 itself generates all these sync signals and can be used alone if you want to be very frugal. However, the CADI is very handy when using more than one M20 (you do have more than one, dont you?) and it also has a few more locate tricks up its sleeve.
NO DELAYS! ORDERS PROCESSED SAME DAY! In most cases, orders ship the same day we receive them!

NEED IT TOMORROW? We can ship via FedEx for next day delivery! (219) 432-8176
Late Fall 1998 It was and probably still is the biggest news of 1998: On June 30th, Mackie Designs shipped the very first of its much anticipated 56-input, 72-channel, fully automated Digital 8Bus Mixers ($9999 list) and reaction from the music world has been, as you might expect, phenomenal. Always super quality-conscious, Mackie put every one of its first production units through a thorough real-world mix test before sending them out the door, and this led to some delays in getting enough consoles into the hands of all those people who wanted one. Here at Sweetwater, units have been arriving just about every day and we expect to be caught up with the back order situation by the time you read this, though we still recommend you place your order now because even as the supply has increased, so has the demand. Naturally the industry press has been raving about the D8B. Frank Wells of Audio Media Magazine (May, 1998) wrote: The desk will find an instant home not only in recording facilities, but in video post and broadcast as well. Whereas the D8B can be effectively controlled by the work surface alone, few end users will want to pass up (the) stunning display (SVGA) and powerful virtual control surface. Meanwhile, George Petersen, in a Mix Magazine Field Test remarked: The (Digital 8Bus) is a great-sounding, flexible and ergonomically sensible digital board thats affordable and ready to meet the needs of the 1990s and beyond. Thumbs up on this one. If you havent been reading Sweet Notes (or Mix or Keyboard or EQ or every other industry journal) you might be wondering what the big deal is. Why are those in the know calling the Mackie Digital 8Bus the most powerful digital console made today. Part of it is the basic philosophy behind the units creation. When Greg Mackie put together t h e
Page 7 precise feel of a great analog console. Built with 25 integrated DSP chips, the Mackie D8B has tremendous processing horsepower. In fact, coordinating those DSP chips is a powerful Pentium compatible host computer. Needless to say, accomplishing all that took just a little longer than anyone thought it would. But when you look at this monster mixers feature set, well you cant help but be incredibly impressed. So lets take a closer look at the D8B. First of all, one of the nicest features of the D8B is its familiar analog-like interface. And yet it has, unquestionably, far more processing power than other affordable digital mixers which typically use less sophisticated micro-controllers to direct their audio and a few basic system functions. You often end up spending more money than you originally budgeted because you have to buy an outboard PC or Macintosh to get much done. The Digital 8Bus, on the other hand, uses a true workstation-class 32-bit Pentium compatible CPU Processor with a full 16MB of RAM. Besides keeping track of 48 channels of audio, it can perform true computer operations like reading and writing to built-in floppy and hard drives and driving full-color monitors via a built-in SVGA Video Port. The built-in Ethernet connection allows you to dial into to Mackies own cen-

Just looking at it makes you want one, doesnt it? It has all the features you want today and everything you will probably need in the future!
D8B design team, he gave them a deceptively simple goal: Do digital right. In other words, create a digital console that is as intuitive and easy to use as Mackies rightly famous analog consoles. Create a console that doesnt compromise headroom, noise floor, bandwidth or color the sound in any way. And then make sure its (like all other Mackie products) an incredibly good value. Actually, Greg hired the best digital audio mixer engineers he could find, headed up by two British designers who helped design those massive, oceanliner-sized digital consoles that pro studios build $300-an-hour A rooms around. According to Greg, What our hardware engineers ultimately came up with was more than a digital mixer they constructed a console with the guts and torque of a dedicated computer workstation, but with the
tral computer system and upload upgrades. You can even add a PC compatible keyboard and PS/2 mouse. All told, the D8B boasts over a GigaFlop (dont bother looking that one up in your dictionary its not there yet!) or three billion instructions per second of DSP. Mixers ten times the cost of the D8B dont have this kind of brutish digital muscle. This massive power lets you run digital functions such as EQ and full dynamics processing on all 48 channels simultaneously. And wait until you check out the D8Bs luxurious display. Theres no squinting at a tiny monochrome display (thats not good for your eyes, after all) and you can even use your mouse to control every feature of the board on-screen. This means that nearly all onboard functions can move in realtime, simultaneously. You cant do that on many other digital mixers, and certainly none anywhere near the Mackie boards price range. There are a number of other things that youre going to love about the Continued on Page 10
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directly from the K2500 itself. You can even bring live, external digital or analog audio signals into the K2500 (via Sampling Option) and process them with both VAST and KDFX. The result can be sent back out of the K2500 as either an analog or digital signal. So its almost like getting a full blown external processor for free. But convenience, controllability, and external processing would all be of little importance if the KDFX didnt have stellar sound quality. Soundware designers and audio experts have already favorably compared the KDFXs reverbs and effects to many of the worlds most expensive processors. The Reverbs (over 100) in particular were singled out as being among the best in the industry. But besides reverbs, there are also Complex Echoes, 4- and 8-Tap Delays that can sync to MIDI Clock, Spectral Delays, Stereo Choruses, Flangers and Phasers, Lazer Verbs, Pitchers, Shapers, Bit Quantizers, Distortions with EQs and Cabinet Simulators, PolyDistortions with up to 8 distortion stages, Leslie Rotary simulators with separate Horn and Rotor control and the list goes on. And the list will keep getting longer as new FX Algorithms ware made available via software from Kurzweil in the future. If youre convinced that the Kurzweil Digital Effects Option is just the ticket to take you into the 21st Century of audio production please visit our KDFX Install Party which can be found on our Sweetwater Web site at: http://www.sweetwater.com/products/ kurzweil/kdfx. There youll learn why Sweetwater Sound is, by far, the best place to have your KDFX professionally installed. Theres also instructions on how to safely prepare and ship your K2500 to Sweetwater for this exciting new upgrade. Weve even provided an on-line form where you can create the Return Authorization document and the FedEx Airbill which will expedite sending us your instrument. You can even download the entire KDFX User Manual and Algorithm Reference to read at your leisure. But dont say we didnt warn you: Once you go through the manual and flip through the Algorithm Reference you wont be happy until your K2500 has KDFX. For more expert information and your best KDFX value simply call your Sweetwater Sales Engineer and well get you up and running in the shortest time possible. Its going to be a great century to create music!

By Daniel Fisher, Director of Soundware Engineering Longtime Sweetwater customers know that weve been major fans of Kurzweil Music Systems synths and samplers from Day One. Seems like every time one of their instruments has reached its full potential, along comes another Operating System or Hardware Option that once again gives the instrument new and exciting areas to explore. Since the release of the K2000 back in 1991, the bar has been raised many times to once again set the standard for synthesis power: a full-blown arpeggiator, 8-Zone Setups, the DMTi Digital Multitrack interface, Note-Starts from Controllers, KB3 realtime organ drawbar system and even a Live Mode that allows external audio to be processed by VAST. But the single most innovative and revolutionary option is the new KDFX (Kurzweil Digital Effects) for the K2500. Its sonic power and flexibility rivals most outboard effects and its retail price of $795 is far below other serious professional studio devices. There are a number of advantages in having a KDFX unit in your K2500 as opposed to using an outboard processor. You can easily design and store individual KDFX Studios and Effects Presets for every Program in your K2500, meaning you dont have to create MIDI Patch Maps to link Programs to Effects like you would with an outboard processor. This allows you to save all your Programs, Songs, Samples and Effects as a single file! An outboard digital effects unit would need to save its files as a SysEx dump somewhere else. Another area where the KDFX is superior to outboard effects processors is its tremendous controller assignment capability. Kurzweils Variable Architecture Synthesis Technology is recognized as having the most powerful control signal processing, and now, all of these controls (and more) are available for every single KDFX parameter. This allows you to create powerful digital multieffects that precisely follow your performance. For those of you with studio applications the KDFX is a god-send (and god-return?). Not only does the KDFX allow 4-stereo busses of digital output which can be sent to ADAT Lightpipe or TASCAM TOS Link (via the DMTi Digital Multitrack interface), it also can send a stereo, 16- or 20-bit digital signal
DIGITAL EFFECTS FOR K2500
CADI Controller Autolocator Desktop Interface for Alesis M20
After designing what is certainly one of the worlds finest stand-alone multitrack recorders, the 20-bit Alesis M20, the company had to address the way such a great recorder would be integrated into the modern studio. Obviously, engineers need instant access to all their controls in one place, but sometimes that place might be hundreds of feet or yards away from the recorder theyre using. Top studios with big name clients can hardly say, Hang on a minute, I'll just walk down the hall and arm those two tracks for you. Be back in a jiffy. Well, they could say that, but they wouldnt end up keeping many clients. Enter the Alesis CADI ($1499 list), a new remote control (and we mean remote) and autolocator specifically designed for use with the M20. Connecting to the M20 via an Ethernetstyle RJ-45 connector, the CADI can be operated at huge distances from the recorder and still offer flawless control of the unit's transport and track arming functions. Even the M20's jog/shuttle wheel can be operated from a remote location using the CADI. A bright, clear vacuum fluorescent display shows machine status and alphanumeric information such as the names of location points. Whats more, the CADI can directly control up to eight M20s right from its front panel, for a total of 64 tracks (plus time code and eight Aux tracks). Individual M20s may be taken offline from the remote, and individual indicators show when all machines in a system are in sample-accurate sync. For commercial studios that keep recorders in a separate area from the control room (and thats the logical way to set up a major studio, right?), the CADI is the solution for integrating M20s into any professional environment. Specs and features? Plenty: The CADI sports full front panel controls and indicators, a numeric keypad, illuminated record enable buttons and indicators (64 of them), Aux/TC track enable (8), track status, machine status, editing buttons, a gorgeous vacuum fluorescent display, a jog/shuttle wheel and a bunch of other stuff we dont have room to tell you about. It weighs in at just 10.6 pounds and is remarkably compact. Top studios are already ordering M20s in record numbers. After all, this is a machine that was specifically created for heavy duty use in commercial audio recording facilities and high end video and post production facilities. Its sophisticated full servo direct-drive transport and flawless 20-bit audio capability guarantees sound that unquestionably surpasses even the biggest, baddest, most expensive analog mastering recorders. It was engineered for demanding, around-the-clock use and low maintenance. It has quick response and built-in SMPTE/EBU time code synchronization, as well as sample-accurate multiunit sync. Yet it still uses the same inexpensive, readily available SVHS tape stock as the original ADAT recorders (well, there are just some things you cant improve on). Yes, we could go on and on about the built-in, high resolution oversampling A/D and D/A converters, the ADAT optical ports and sync jacks and the stunning audio quality of the 20-bit format (which can record an astounding 16 times more audio data than a 16-bit machine), but we'll leave that to your friendly, extremely knowledgeable Sweetwater Sales Engineer. Oh, and he or she will also be glad to give you a special Sweetwater price on an M20 and CADI system thats exactly right for your high end studio. So pick up the phone and make that call right now!

By Daniel Fisher, Director of Soundware Engineering Once again the leaves are falling and the fresh, cool breezes create a sense of exciting things to come. As you can probably tell, Im a "Fall guy" and I know I probably couldn't live anywhere that didn't have Autumn as one of its seasons. But Fall is also an exciting time at Sweetwater, as its always the season that we break (destroy, actually) all of our existing sales records. I guess its because our customers are ready for new beginnings and new equipment as well. This Fall I got my own Yamaha EX5 Music Synthesizer and our Soundware Development staff has been working diligently to get some of our best samples into the EX5 format. Our first result has exceeded our wildest expectations with the release of Sweetwaters EX Premium Rhythm Section CD-ROM for the EX5 and EX7. The flagship instrument on this disc is our award-winning 13-meg, triple-strike, Stereo Virtual Grand and I can honestly attest to the fact that our EX version is now the most dynamic and powerfully musical version of this piano yet created. And when you have a machine with 128 notes of polyphony you can stop worrying about voice-stealing and just start playing. There was so much polyphony to spare that we even created pianos that were a simultaneous mix of RAM and ROM pianos together. And the Virtual Grand with Strings will give you goose bumps! To add even more value to this CD-ROM we've also included a Yamaha G3 Rock Piano as well as some DX-7 textures. For the bottom of your rhythm section we offer six of our best Bass Guitars from our Ultimate Guitar CD-ROM and to kick the groove forward we feature five full-stereo, full-bandwidth, full-length Drum Kits from our Total Stereo Session Drums CD-ROM. As an added bonus, the EX Premium Rhythm Section CDROM includes the program data from all four EX5 Factory Disks, all four EX7 Factory Disks and all eight Demo Songs. We've even thrown in the 8 meg General MIDI set for both RAM and Flash ROM so you never need to change discs. How much for this EXceptional CD-ROM? How about $129! What? You don't have your EX Synth yet? Or you don't have the SCSI, RAM or Flash ROM options you want? No problem, call your Sweetwater Sales Engineer today for a special package price that will get you making exciting new music for the next century! Before I go I'd like to mention that Winter NAMM '99 is really not that far away. If you're going to be at the show or in the LA area from January 2731, please make a point to come see us. We're always looking to hire excellent people who share our excitement about music technology. Call Sweetwater and ask for Kristine Haas to set up an appointment. See you soon!

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MACKIE DIGITAL 8BUS MIXER
Continued from Page 7 DB8: the bold, futuristic shape, the innovative card cage, the nearly effortless ease-of-use. There are no button sequences to remember or silly ritualistic dance moves to access the D8Bs many features. In fact, all button sequences are kept to a bare minimum and every important channel strip control such as pan, mute, solo and EQ is available via a dedicated button or rotary control. But even the best hardware isnt useful without userfriendly software. This is where Mackie really went to work on blowing away the competition. The Mackie Design Team felt that conventional computer operating systems were just too slow to meet their ambitious standards, so they created the invisible, proprietary Mackie Real Time OS. It runs all computer functions, supervises all 25 DSP processors, plus dynamic and scene automation without breaking a sweat. But aside from assembling an impressive group of engineers and product designers to make the DB8 a reality, Mackie also partnered with other cuttingedge companies like Apogee Electronics, which means that inside every DB8 is Apogees much-acclaimed UV22 Super CD encoding algorithm. UV22 gives your 16-bit masters near 24-bit resolution when and mastering engineers swear by it. Its a Mackie
exclusive thats previously only been available as a (very) expensive Apogee outboard processor and Pro Tools plug-in. Apogee is also engineering Mackies digital I/O cards. For the DB8s reverb sound, Mackie went to Euphonics, the software think-tank that has developed algorithms for the worlds most respected on-screen interface. They even tossed in full MIDI Machine Control for popular digital multitrack recorders, right down to a Record Enable button on every channel strip. Greg Mackie sums it up this way: We think we did our first digital mixer right. We listened to users, got the best engineers, and hammered away at a design that was never compromised. With the Digital 8Bus, we think Mackie has created the most powerful digital mixer made. period. If you want to know more about the DB8 (and who wouldnt?), we suggest you call your Sweetwater Sales Engineer right now for a complete overview of this impressive product and your special low price on what has to rate as one of the most significant technological advances of the last few years.

pitches as low as A0 (55Hz) up to the pitch C6. This range allows correction to be performed on all vocals and almost all instruments. The ATR-1 works by continuously tracking the pitch of an input sound and comparing it to a user-defined scale. The scale tone closest to the input is continuously identified. If the input pitch exactly matches the scale tone, no correction is applied. If the input pitch varies from the desired scale pitch, an output pitch is generated which is closer to the scale tone than the input pitch. The ATR-1 allows you to program 50 different Scales. For each, you can define which notes will sound and which wont. And for each note that will sound, you can decide whether the ATR-1 will apply pitch correction to input pitches near that note or leave those pitches uncorrected. You also have control over how rapidly the pitch adjustment is made toward the scale tone via the SPEED control: Fast Speed settings are more appropriate for short duration notes and for mechanical instruments, like an oboe or clarinet, whose pitch typically changes almost instantly. Slow Speed settings are better for longer notes where you want expressive pitch gestures (like vibrato) to come through at the output and for vocal and instrumental styles that are typified by gradual slides between pitches. A slow setting can leave a vibrato unmodified while the average pitch is accurately adjusted to be in-tune. The ATR-1 can even apply a vibrato to the input sound. You can program the depth, rate and delay or even control it in realtime via MIDI. You can also choose the shape of the pitch variation in the vibrato (sine, ramp or square). By combining a fast Speed setting with the ATR-1 Vibrato settings, you can even remove a performers own vibrato and replace it with the ATR-1s programmed vibrato. At its top level, the ATR-1 operates in one of two modes, Program Mode or Song Mode. Which mode you use depends upon your application and just how radical the required corrections might be. Unfortunately, space prevents me from going into detail on this, but its all fairly simple and straightforward and you dont need some specialized degree from a four-year university to understand it. Heck, I can figure this thing out and, as those who know me can attest, Im no rocket scientist. Our own David Stewart just sent back a report from the AES Show where he put the ATR-1 through its paces and confirmed that the unit actually made his vocals sound good. Antares ATR-1 module is a terrific piece of equipment that no serious studio should be without. Whats more, it carries a list price of just $1199. Considering what this module can do, thats a small investment for a very big return. Want to know more? Just pick up the phone and talk to your Sweetwater Sales Engineer. They can fill you in on all the details we dont have room for here, and get you a great low Sweetwater price on your own ATR-1!