In doing this the Fireface UCX marks a new packing record: 300 electronic components more than inside the already well-stocked Fireface UC! In a tremendous effort RME packed once again all the latest technologies, introduced with the award winning flagship UFX, plus a bunch of newly developed ones, into a half 19 inch housing with full mobile usability.

The result is an awesome combination of RME’s most successful products: Fireface UFX, Firefaces UC/400 and Babyface. The Fireface UCX is not just a smaller version of the smash hit UFX, with the X-core, the preamps and the complete effects engine, the UCX continues the tradition of RME’s tremendously successful compact interfaces, and combines it with the great usability of the Babyface through the included RME remote. With the Fireface UCX RME reinvented an already perfect product, by improving existing features and characteristics plus adding sophisticated new ones:

• Low Latency mastering grade converters with outstanding specifications.
• Two mic preamps with the premium technology from RME’s high-end recording bestsellers Micstasy and UFX, including the AutoSet overload protection.
• A newly developed Hammerfall audio core, supporting USB and FireWire with the maximum performance and ultra-low latency operation, combined with the legendary RME driver stability and maintenance, on both bus protocols.
• TotalMix FX with the complete Fireface UFX DSP engine, including all effects up to 192 kHz.
• Monitoring Controller: combining the impressive flexibility of the TotalMix FX monitoring tool set and the included RME Remote Control.
• RME’s unique DIGICheck metering and analysis toolbox for Windows PC and Mac.
• Plus support for RME’s Advanced Remote Control, active jitter suppression technology, professional reference level support, advanced stand-alone functionality, full 192 kHz operation, and last but not least two high speed MIDI I/Os.
• The Fireface UCX is the first professional audio interface with Class Compliant mode to work with Apple’s iPad, for perfect stereo up to 8 channel recording and playback, and the addition of truly professional I/Os.

The included Basic Remote Control provides one big wheel dial, a button for level storage/recall, and a freely programmable button for nearly all TotalMix FX functions. The optional Advanced Remote Control (ARC) adds 6 freely programmable buttons with LEDs to the feature set. Just assign all frequently used TotalMix functions to these buttons.

The DSP-based TotalMix mixer supports fully independent routing and mixing of all 18 input and playback channels to all 18 physical outputs. Up to 9 totally independent stereo submixes plus a comprehensive Control Room section offer unrivalled monitoring capabilities and unsurpassed routing flexibility. Every input and output channel comes with a luxury feature set, comparable to a full-scale digital console. The effects per channel include 3-band parametric EQ, adjustable Low Cut, Auto Level, Compressor, Expander, MS Processing and phase reversal. The Reverb and Echo effects unit is available for all channels by way of a stereo send and return bus.

Two DSPs ensure impressive performance, even in extreme applications. As usual with RME, TotalMix is available with all channels at all sample rates, completely unlimited. The second dedicated DSP only renders effects, and therefore always has sufficient resources. For example, at 48 kHz 36 EQs, 36 Low Cuts, 26 Compressors and Echo can be activated. With activated Reverb and Echo still 36 EQs, 36 Low Cuts and 16 Compressors are available.

18 Input / 18 Output channels of connectivity

• 8 x Analog I/O
• 2 x Mic/ Line Preamps, digitally controlled
• 2 x Line / Instrument inputs, digitally controlled
• 1 x SPDIF I/O coaxial
• 1 x ADAT I/O (or 1 x SPDIF I/O optical)
• 1 x Word Clock I/O
• 2 x MIDI I/O (via breakout cable)
• 1 x FireWire 400
• 1 x USB 2.0 (USB 3 compatible)
• Remote Control

The Fireface UCX is the first fully professional audio interface with the option to be used as Class Compliant interface. The Class Compliant mode is a standard that is natively supported by operating systems like Windows, Mac OS X and Linux distributions. No proprietary drivers are required, the device will be directly recognized when the CC mode is activated by the button on the front panel.

The Class Compliant mode also allows for connecting the UCX to an Apple iPad or iPad2. The UCX provides the iPad with the professional analog I/O connections it lacks. Superb microphone preamps with EQ, dynamics, even with the AutoSet feature, in addition to professional balanced line outputs, and a hi-power headphone output that also excels with high impedance headphones. Plus level adjustments, reverb, echo, zero latency monitoring, digitally via USB, without any limitation in quality, at up to 96 kHz and 24 bit.

On the Mac, the Fireface UCX requires OS X 10.5 or later and an Intel processor. When using USB 2.0, the UCX requires a Core 2 Duo processor or faster. When using FireWire 400, the UCX requires an OHCI compatible FireWire Port 400 (1394a) or FireWire 800 port (via adapter cable).

The Fireface UCX will be available “soon” for a minimum advertised price of $1649.

http://www.rme-audio.de/en_products_fireface_ucx.php

Universal Audio is proud to announce Apollo, a high-resolution audio interface that combines UA’s analog design heritage with esteemed UAD Powered Plug-Ins in a sleek, elegant recording system. With Apollo, music producers and performers can finally track through UAD Powered Plug-Ins in real time, via a professional 18 x 24 FireWire/Thunderbolt-ready audio interface that delivers class-leading 24-bit/192 kHz sound quality.

“Apollo is the culmination of 10 years of analog and digital audio development here at UA,” said Bill Putnam Jr., Universal Audio founder. “In many ways, it’s brought the analog and digital sides of our company together. With Apollo, we’re delivering the sound, feel, and flow of analog recording with all the conveniences of modern digital equipment, including next-generation Thunderbolt technology.”

Apollo is, first and foremost, a well-built, high-resolution audio interface, featuring premium mic preamps and top-end converters to deliver the lowest THD and highest dynamic range in its class. Its Core Audio drivers ensure compatibility with all major DAWs, including Pro Tools, Logic Pro, Cubase, Live, and more. Moreover, Apollo’s Console application and companion Console Recall plug-in (VST/AU/RTAS) provide control and recall of all interface and UAD plug-in settings within individual DAW sessions, even months and years later.

Apollo differentiates itself from all other audio interfaces, however, via its onboard UAD-2 DSP Acceleration. This onboard processing allows for recording through UAD-2 Powered Plug-Ins — with nearly instant sub-2ms latency — so that music producers can quickly monitor, audition, and “print” audio using a wide range of popular analog emulation plug-ins from Ampex, Lexicon, Manley, Neve, Roland, SSL, Studer, and more (sold separately). In this way, Apollo’s sonic character and tonal options are virtually limitless. The onboard UAD-2 processors are also available for mixing and mastering, offloading processing from the host computer.

Notably, Apollo offers compatibility with Intel’s new Thunderbolt technology, as found on the newest iMacs, MacBook Pros, and MacBook Airs. Available via a user-installable Thunderbolt Option Card, Thunderbolt provides lower latency, reduced audio buffer size, improved performance at high sample rates, and greater UAD plug-in instances versus FireWire.

“Thunderbolt technology makes possible a whole new class of products to enhance music production workflows and creativity,” says Jason Ziller, Director of Marketing and Planning for Thunderbolt technology at Intel Corporation. “Products like Universal Audio’s Apollo are using Thunderbolt to rock music producers’ worlds.”

Apollo incorporates numerous design hallmarks from classic UA analog gear, including its fast, easy workflow. Dedicated front-panel controls are present for all the most common features, including preamp gain, channel selection, mic pad, +48V phantom power, low cut, monitor level, and dual headphone controls.

Apollo’s connectivity includes 4 digitally controlled analog mic preamps, 8 balanced line inputs and outputs, dual front-panel JFET DIs, digitally-controlled analog monitor outputs, 8 channels of ADAT, 2 channels of S/PDIF, word clock I/O, FireWire 800 (standard), and a Thunderbolt expansion bay — making it a well-equipped centerpiece for the modern project studio.

On the Mac, Apollo requires OS X 10.6 or later, an Intel processor, an available FireWire or Thunderbolt port and a compatible AU, VST or RTAS host application.

The Apollo High-Resolution Audio Interface will be available in both DUO CORE and QUAD CORE processing formats (with either two or four Analog Devices SHARC processors, respectively). Apollo will be shipping in the first quarter of 2012, with an estimated street price of $1,999 (DUO processing model) and $2,499 (QUAD processing model). Apollo’s Thunderbolt Option Card will be shipping in the first half of 2012, with an ESP of $499.

www.uaudio.com/apollo

Zynaptiq has announced the release of Pitchmap, the worldʼs first and only audio plug-in capable of polyphonic pitch-correction and pitch-mapping in real-time.

Pitchmap allows real-time correction of pitch inaccuracies within mixed signals, as well as completely altering the tonality, chords, harmonies or melodies of a musical signal on- the-fly, a process Zynaptiq refers to as Pitch Mapping. Pitchmap does this using Zynaptiqʼs proprietary, artificial intelligence based MAP technology (Mixed-Signal Audio Processing) to de-mix an incoming signal – like, for example, a full mix – into individual elements, and then allows the user to arbitrarily or automatically correct and modify their pitches. Additionally, Pitchmap provides means to deliberately induce processing “errors” to make results sound synthetic in a very futuristic and unique way.

“Our DSP Developer Stephan M. Bernsee has come up with what we believe to be a real game-changer.” Zynaptiq CEO Denis H. Goekdag said. “Pitchmap lets you reach into a recording and change the pitch-related aspects of the composition on-the-fly. You can change an entire song from minor to major with just a couple of clicks, simultaneously correcting any tuning issues and changing the key. While there are other pitch processing solutions available, Pitchmap combines polyphonic capability, a real-time workflow and an exceptional processing quality based on techniques that model the human auditory system, thus opening up a whole new level of creativity.”

Pitchmap provides all of the following functionality in real-time:

• Automatic correction of pitch inaccuracies in polyphonic/mixed signals
• Pitch Mapping: Change harmonies and melodies on the fly
• Pitch Mapping via GUI-created source/destination maps or real-time MIDI-input
• Macro controls for near-instant creation of harmony- and key-changes
• Snapshot functionality for fast workflow and easy automation
• Perceptive modeling based Natural mode for voice-adapted processing
• Continuously variable Electrify parameter for making results sound synthetic in an exciting and unique way

On the Mac, Pitchmap requires OS X 10.6 or later and an Intel CPU with at least 2 Cores. Pitchmap will initially be released as an AU (Audio Units) plug-in, with VST and AAX support for both Mac and Windows platforms planned for later in 2012.

Pitchmap is priced at $399. A free trial is also available for download. A special introductory price of $269 will be available until 1 April 2012.

www.zynaptiq.com/pitchmap

Zynaptiq GmbH, based in Hannover, Germany, creates audio software based on artificial intelligence technology, and was founded in 2011 by Stephan M. Bernsee and Denis H. Goekdag, known for their involvement with Prosoniq, Hartmann Music, Surround SFX and the DSP Dimension, amongst others.

MOTU has introduced the HDX-SDI with Thunderbolt technology, a professional video interface that turns a Thunderbolt technology enabled Mac or PC into a powerful HD/SD video production workstation equipped with all the video and audio I/O needed for professional capture and monitoring.

With the plug-and-play ease offered by Thunderbolt Technology connectivity, users can connect any video source to their computer via the HDX-SDI, from SD camcorders to today’s latest HD cameras, then log and capture clips directly into their video editing software, including Final Cut Pro, Media Composer 6, and Premiere Pro. The HDX-SDI supports all standard SD and HD video formats up to and including 1080p30 (720p, 1080i, 1080p & 1080PsF).

For the best-possible image quality, users can capture uncompressed pixel-for-pixel HD video input via HD-SDI or HDMI with 4:2:2 10-bit color depth and full-raster 1920 x 1080 resolution. For compressed workflows, users can choose ProRes, ProRes HQ, Avid DNxHD, or the codec of their choice.

Advanced features include ASC CDL color grading, RS-422 (SONY 9-pin) machine control, bi-level and tri-level video ref sync, time code in/out with front-panel time code display, 16 channels of simultaneous audio input and output, multi-stem 5.1 and 7.1 surround sound capturing/monitoring, 8-channel analog audio I/O on quarter-inch TRS connectors, 8-channel AES/EBU digital audio I/O, 8-channel SDI and HDMI audio with embedding/de-embedding, and more. Time code support includes LTC, VITC (SD analog), D-VITC (SD-SDI) and embedded (SD/HD-SDI).

The HDX-SDI is housed in a rugged, one rack-space cast metal enclosure with removable brackets for convenient desktop operation.

The HDX-SDI with Thunderbolt technology will ship Spring, 2012. Price is TBA.

www.motu.com

Apogee has announced the availability of MiC, the most compact studio quality USB microphone available for iPad, iPhone and Mac. About the size of an iPhone, MiC makes it easy to capture your best take with incredible 24-bit quality, anywhere your music takes you.

Record any sound you can imagine, from vocals to vibraphones, acoustic to lap steel guitars, pianos to percussion and everything in between, and build a track right on your iPad with GarageBand. MiC is also the perfect companion to JAM, Apogee’s studio quality guitar input. Never before has the personal studio been so portable or so powerful.

Features

• PureDIGITAL connection for pristine sound quality
• Studio quality cardioid condenser microphone
• 44.1/48 kHz, 24-bit analog-to-digital conversion
• Studio quality microphone preamp with up to 40dB of gain
• No configuration, just plug in and record
• Control knob allows easy input level adjustment
• Multicolor LED for status indication and input level monitoring
• Designed for vocal and acoustic instrument recording
• Also great for recording interviews, podcasts, voice overs, and audio for DSLR video
• All metal construction
• Extremely compact and portable
• Works with GarageBand
• Bus-powered by iPad, iPhone or Mac (no batteries or external power required)
• Made in the U.S.A.

On the Mac, MiC requires OS X 10.6.4 or later, an Intel processor, 1 GB minimum of installed RAM (2 GB recommended), USB 2.0 Full Speed, and GarageBand, Logic Pro, MainStage, Pro Tools or any Core Audio compatible application.

On iOS, MiC requires an iPhone 4, iPhone 4S, iPad, or iPad 2 running iOS 4.3 or later, and access to the Dock connector port (no batteries required). MiC is made for GarageBand on iPad or iPhone, but also works with other MFi compatible apps.

MiC will be available in February 2012 and will retail for $199.

http://www.apogeedigital.com/products/mic.php

FXpansion is proud to present Tremor, a software drum machine with powerful synthesis, effects, modulation and step-sequencing. DCAM circuit-modelled sound generation is fused with new ideas to produce original sounds with the punch and extreme sound pressure of old-school analogue. Tremor’s dance drums, funky beatscapes, abstract machines and undiscovered sonic terrain are suited to all kinds of electronic, urban and experimental music.

Central to each of Tremor’s 8 synthesis engines is a specialized DCAM oscillator with harmonic partials akin to a drumskin’s modes of vibration. Mixed with a sub-oscillator and tuned noise source, the signal is sculpted by modelled drive/filter/FX sections and razor-sharp envelopes. Tremor’s diverse output includes classic kicks, snares and claps, organic hats and body-shaking subs alongside futuristic zaps, scrapes, textures and sounds that defy classification.

The TransMod modulation system in Tremor is easier and deeper than a mod-matrix. It offers new sound design possibilities and lets you animate sounds with LFOs, step-automation sequences and real-time macro controls while the synthesis engine reacts just like real analogue circuits. Tremor’s sonic potential is showcased in the included suite of presets by a team of elite sound designers.

Feature Hightlights

• Synthetic drum machine software
• DCAM-modelled synthesis and FX
• Specialised oscillator with drumskin vibration partials
• Filtering and drive with multiple responses
• Deep, intuitive TransMod modulation system
• Polyrhythmic pattern step-sequencer
• VST, AU, RTAS and standalone

On the Mac, Tremor requires OS X 10.5.8 and above, a 2.53 GHz Intel Core 2 Duo processor and 2 GB of DDR2 RAM. FXpansion recommends a 2.9 GHz Intel i5 processor and 2 GB of DDR3 RAM.

Tremor is available now via download from the FXpansion web shop for $149 / €119 / £99. Until 9 February 2012, Tremor is available for $99 / €79 / £69 to all registered owners of Geist or DCAM: Synth Squad (and for customers purchasing Tremor at the same time as Geist or DCAM: Synth Squad).

http://www.fxpansion.com/

u-he has announced the release of DIVA, the first native software synthesizer that applies methods from industrial circuit simulators in realtime. The oscillators, filters and envelopes closely model components found in some of the great monophonic and polyphonic synthesizers of yesteryear.

Modules can be mixed and matched so you can build hybrids, but what sets DIVA apart is the sheer authenticity of the analogue sound. The behaviour of zero-delay-feedback filters when pushed to the limit clearly demonstrates the advantages of DIVA’s approach, which was inspired by tools such as PSpice, an analog and mixed-signal circuit simulator typically used in electronic design automation.

This does come at the cost of quite a high CPU-hit. You will need a fast computer. Even though the “draft” and “fast” quality setting may play fine, DIVA only shows her true talents and attitude in “Divine” accuracy mode.

On the Mac, DIVA requires OS X 10.5, an Intel processor with at least 2 cores at 2 GHz, and a VST or AU compatible host application. Support for Pro Tools and/or FXpansion adapter is planned for Spring 2012.

DIVA is available via direct download from u-he for $179 (+19% VAT in Europe). A special discounted price of $119 is offered through 15 January 2012.

http://www.u-he.com/

ValhallaDSP has announced the release of ÜberMod, a unique mutltap delay and modulation plug-in. With up to 32 modulated delay taps, extensive diffusion and overdrive sections, and parallel slow and vibrato LFOs, ÜberMod can be used to create lush dimensional choruses, classic string ensembles, tape and BBD echoes, nonlinear and reverse reverbs, and a bunch of sounds that defy categorization.

Feature List:

• True stereo signal path, for maintaining the spatial image of stereo inputs
• Delay times that can be synced to tempo, to create modulated delays and nonlinear reverbs at specific beat rates
• Unique WIDTH control, that varies the spatial image from mono to stereo to “super-stereo”
• Separate parameters for the detune and vibrato oscillators, to have high level control of up to 32 independent LFOs
• OverMod control, to turn up modulation depth beyond the bounds of sanity
• A high level DEPTH parameter, for quick adjustments to the overall chorus modulation amount
• A large number of chorus tap modes (2/4/6/8/16/32 Taps, Dual Ensemble, 16Phase) for dialing in specific chorus, ensemble, and nonlinear reverb sounds
• Diffusion section (with adjustable amount, size, mod width and mod depth) for creating delays that smear over time, diffusion choruses, and modulated reverbs
• Drive section (with pregain, postgain, and noise gain) for emulating tape saturation & analog delays
• Taps menu, for adjusting the spacing, slope, left/right skew, and randomization of the output taps
• A simple yet powerful EQ section, for rolling off the high and low frequencies, and switching between bright and dark color modes
• SPEED control, to double the delay time and drop the pitch of the signal within the delay buffers
• All parameter changes are smoothed to avoid clicks, and to generate tape echo-esque effects — the smoothing time can be adjusted to create a variety of swishing, whooshing boing sounds
• Resizable GUI influenced by NASA Human Interface specifications & Swiss School of graphic design — “Minimalist GUI, Maximalist Sound.”
• High level controls have dedicated sliders, while the “tweakier” controls are selected via their own panels
• Cross platform/DAW preset mechanism, that allows presets to be easily exchanged with other ÜberMod users via text based copy and paste

ÜberMod is available in AU (32/64-bit), VST (32/64-bit) and RTAS plug-in formats, and may be purchased via direct download from ValhallaDSP for $50. A free trial version is also available.

http://www.valhalladsp.com/valhallaubermod

Sinevibes is happy to announce Strobe, a new AudioUnit effect plugin for rhythmic audio gating. Its core is a sequencer that runs in perfectly precise sync with your DAW and lets you mute individual notes and sounds in a looped fashion.

Thanks to variable timing, swing and gate shape Strobe can easily match the feel of any melodic or rhythmic part. It’s a simple yet versatile effect that is essential in all styles of music – and it has an incredibly fun-to-use interface.

Some of the Strobe applications are:

• Add rhythmic gate effects onto synth, bass and pad sounds.
• Create classic effects like tremolo and pumping.
• Apply beat slicing onto rhythmic parts.

Strobe is immediately available as a 32/64-bit AU plug-in for OS X Leopard, Snow Leopard or Lion.

It normally costs $19 but can be purchased with a 30% holiday discount until January 1. Audio examples, the user manual and demo version are all available via download.

http://www.sinevibes.com/strobe/

Audio Ease has announced the release of Altiverb 7, the original cross-platform convolution reverb that uses samples of actual spaces and classic gear to generate ambiance with software. Version 7 features an updated user interface, keyword searching and new modulation capabilities.

The Impulse response (sampled spaces) library is more accessible then ever because of Altiverb’s new picture browser: quicker loading, organize-by-size, and single click favorites are among its features. Altiverb 7 looks and feels better. Often used controls all line up on the front, while the more exotic ones are in drawers beneath. Keyword searching makes it easier to find the right space among the many hundreds of spaces Altiverb includes.

Altiverb 7 adds an algorithmic reverb that is closely fit to the impulse response. It can optionally add brightness and chaotic modulation in ways only synthetic reverb can while preserving the nature of convolution reverb.

The Impulse response library can be kept up to date from within the plug-in. The TDM structure has been sheavily simplified, altiverb is now the only total recall convolution reverb (without the use of snapshots). It adds drag and drop impulse response making from sweeps, slate claps or anything experimental from piano chords to overhead thunder. Altiverb 7 is fully backwards compatible: you can open up any old project and it will load and sound the same as Altiverb 6.

Altiverb 7 supports 64-bit operation, is Intel Mac only for now, runs in all major VST, Audio Unit and MAS hosts and in ProTools 8, 9 and 10 as a TDM plugin and as RTAS.

The upgrade is free for all Altiverbs purchased in 2010 or later: A grace period of close to two years! Otherwise the upgrade is $215 / €159.

www.audioease.com/altiverb

Cengage Learning and our own Kevin Anker have announced the release of Using Logic Pro’s Synthesizers, the only book available that focuses exclusively on the synthesizers built into Logic Pro 9. Using Logic Pro’s Synthesizers uses practical, sound-oriented advice on how to get the most out of each instrument.

Logic Pro 9 is an industry leader, featuring a comprehensive selection of software synthesizers that allow you to create almost any sound you can conceive of. But the sheer number of options can be overwhelming—even expert synthesizer users need a guide to appreciate the full power of Logic’s synths.

That’s where Using Logic Pro’s Synthesizers comes in. First, you’ll master the simple synthesizers, which will make the essential components of synthesis clear to you. Then, you’ll build on that knowledge to learn how to use the more complex synths. In addition, you’ll learn about hidden capabilities in the various synths. All the while, you’ll be listening to the sounds you create, further cementing the principles of synthesis in your mind. By the time you finish this book, you’ll be able to approach almost any synthesizer you encounter with confidence and ease. Synthesis will be demystified!

Table of Contents

Using Logic Pro’s Synthesizers is available now via book retailers like Amazon.com, or directly from Cengage for $39.99.

http://www.cengagebrain.com/shop/ISBN/9781598639483

Applied Acoustics Systems (AAS) has announced the release of Chromaphone, a new creative percussion synthesizer plug-in. Chromaphone combines acoustic resonators to create drums, percussion, mallet, string, and synth-like instruments. Drum skins, bars, marimbas, plates, strings and tubes form pairs that are sparked to life by a configurable mallet and a flexible noise source.

At the heart of Chromaphone lies a novel coupling technology that precisely models how vibrating objects interact and influence each other capturing key acoustic behaviours of musical instruments. This, combined with access to the resonators’ physical properties, results in a library of truly expressive instruments as well as a vast range of sonic colors.

“This new resonator coupling technology we are introducing in Chromaphone brings our physical modeling platform to a whole new level,” said Philippe Derogis, CTO of Applied Acoustics Systems, “Musical instruments are made from combinations of interacting mechanical objects and coupling allows us to take into account this complex dynamics with great acoustic precision and sharpness. It has been really exciting and rewarding to see how our partner sound designers took advantage of these new synthesis possibilities and put together a creative library of vivid sounds that feature the richness and presence of real-life instruments.”

The benefits of physical modeling

• Sound manipulation at the source core
• Presets load in a flash
• Super smooth dynamics—no velocity layers!
• Small memory footprint
• Installs in less than a minute

Neat features

• Real-time control over any parameters via host automation
• Host tempo synchronization for effects and modulations
• Relaxed editing with unlimited undo/redo capability

On the Mac, Chromaphone requires OS X 10.5 or later, an Intel processor, 512 MB of available RAM, 70 MB of free hard drive space, a minimum 1024 x 768 display resolution, and a compatible VST or Audio Units (AU) plug-in host application.

Chromaphone is available now. The suggested retail price is set at $199, but until 5 December 2011, Chromaphone is available at the special introductory price of $169.

http://www.applied-acoustics.com/chromaphone/