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

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

Avid today announced the release of the Fast Track C400 and Fast Track C600, the next generation of the best-selling M-Audio Fast Track line of USB interfaces. The new Fast Track C-series delivers exceptional audio quality plus hands-on controls for a superior user experience. The interfaces are available bundled with studio-standard Pro Tools MP software or as standalone units.

Sporting a new, desktop-friendly, ergonomic design, the new Fast Track C-series interfaces combine multiple solutions into one by incorporating a studio-quality audio interface, unique hands-on controls, and an integrated monitor management system. The end result is a new generation of music creation solutions that empower musicians to deliver better quality recordings in less time.

• All-new industrial design maximizes desktop space while providing hands-on access to key controls.
• An assignable Multi button delivers hands-on software control, enabling musicians to maintain the creative flow (Fast Track C600 also features re-assignable transport controls).
• Superior converters, redesigned analog signal paths, and 24-bit/96 kHz audio fidelity ensure recordings will sound amazing.
• Intuitive monitor management system enables musicians to compare their mixes on multiple sets of studio monitors—confirming mixes translate well.
• Onboard MX Core DSP technology supplies reverb and delay on headphone outputs, inspiring great performances and delivering low-latency monitoring without taxing the host computer.
• Each interface is available as a bundle with industry-leading Pro Tools MP software, or standalone for use with other popular audio software.

“Our product designers met directly with our customers, looked at how they create their recordings, and constructed a desktop unit that would truly be the centerpiece of a home studio,” said Tanguy Leborgne, Avid vice president, creative enthusiasts product management. “With the Fast Track C-Series, musicians get an interface, hands-on controls, and a monitor management system – all in one lightweight, portable unit with incredible audio fidelity and performance specs. These exciting releases make it simpler than ever to transform ideas into professional-quality music by putting more control at your fingertips, giving you the freedom to make music at the speed of your creativity.”

On the Mac, the Fast Track C-Series hardware requires OS X 10.5.8 or greater, or 10.6.3 or greater, an Intel processor, 1 GB of RAM and a USB 2.0 port. Pro Tools SE requires Mac OS X 10.5.8 or greater, or 10.6.1 or greater, a 1.8 GHz multi-core Intel processor, a 5400 RPM hard drive, 1 GB of RAM and Adobe Flash Player 10.

Fast Track C400 and C600 are available now for $309.95 and $499.95 respectively, and include Pro Tools SE streamlined music creation software. Pro Tools MP + Fast Track C400 is available for $499.95. Pro Tools MP + Fast Track C600 is available for $699.95.

http://www.m-audio.com/products/en_us/FastTrackC600.html

Propellerhead Software today announced Reason 6, a major update to the award winning music software, Balance, its first audio interface and foray into hardware, and Reason Essentials, the successor to Record that packs all the recording, editing, effects, instruments, mixing and mastering necessary to sound great in a streamlined package. Now all Reason products have complete audio recording and editing.

Combining all the features from Record, Reason 6 adds audio recording and editing, along with Propellerhead’s acclaimed mixing console with masterfully modeled EQ and dynamics on every channel, multiple parallel racks, Line 6 amp models, new effect devices plus additional features. New creative effects designed for inserting directly into instruments and tracks include: Pulveriser, sound crushing effect with crunchy compression, dirty distortion and flexible modulation; The Echo, advanced stereo echo with modern delay and analog tape echo emulation: and Alligator, a three band pattern gate for complex rhythmic texturing. Interface enhancements, high definition audio transpose and true 64-bit compatibility highlight other new feature improvements.

Balance, a two-in by two-out audio interface, is designed for the single person operated home/project studio. Fully USB 2 powered with separate volume controls for monitors and headphones, it contains 8 input connections to keep all instruments, mics and devices connected and ready to record with the press of a button—without software pop-ups or control panels. The included Reason Essentials packs in all the recording, editing, effects, instruments and mixing tools needed to create great sounding tracks.

“We looked at recording from our musician users’ perspective. They were spending time concerned with issues other than music making—riddled in installing software, managing cables, setting up control panels, setting gain levels, tweaking recording parameters, and more. It frankly wasn’t as easy and straightforward and it should be,” says Ernst Nathorst-Böös, CEO. “So, we were compelled to create Balance with Reason Essentials to let them focus on creativity and not on technology.”

Built for independent minded musicians, Reason Essentials has the feel of a million dollar recording studio with the streamlined simplicity of a tape deck. Distilled from the core of Reason, Reason Essentials contains a great selection of instruments and effects in a virtual rack that builds itself, or can be infinitely customized—drum machine, loop player, sampler, synths, reverb, delay, distortion, mastering effects and more. For guitar players, the built-in virtual guitar and bass PODs from Line 6 bring a wide range of top quality guitar amps, cabinets and effects. The intuitive audio and MIDI sequencer makes recording and arranging music a breeze. Users never have to worry about track counts, latency issues or adding that extra reverb or effect. With an easy to grasp interface, it won’t get in the way of ideas and will inspire users to make more music.

Balance’s class compliant drivers on the Mac ensure hassle free installation and compatibility with all applications from iTunes to Pro Tools. Integration with Propellerhead products goes further. Hardware buttons on Balance bring up a large meter/tuner in Reason and can also enable “Clip Safe,” Propellerhead’s new recording technology that with one click heals clipped recorded audio. Musicians no longer have to worry about losing a great recording because gain levels were too high, and can stay focused on creating that goose bump evoking performance.

On the Mac, Reason 6 will require OS X 10.5.8 or later, an Intel CPU (multiple cores highly recommended), 1 GB of RAM, a DVD drive, 3 GB of free hard disk space (program may use up to 20 GB scratch disk space), an Internet connection for registration, a free USB port for Ignition Key, and a CoreAudio compliant audio interface or built-in audio hardware. A MIDI interface and a MIDI keyboard are also recommended. Balance has similar CPU, RAM and HD requirements, but Mac OS X 10.6.3 or later will be necessary.

Reason 6 and Reason Essentials begin limited public beta testing today and will be available for purchase worldwide on September 30, 2011 at the suggested retail pricing below. Propellerhead will also offer a special grace period for purchasers of Reason, Record and Reason-Record Duo this summer.

Reason Essentials with Balance audio interface will also be available for purchase worldwide on September 30, 2011 at a suggested retail price of $499 / €499. Any current Reason and Record user who purchases Balance can receive the Reason 6 upgrade for free.

www.propellerheads.se/reason6/

www.propellerheads.se/products/reason-essentials/

www.propellerheads.se/products/balance/

Apogee Electronics is pleased to announce JAM, a studio quality guitar input for iPad, iPhone, iPod touch and Mac. Featuring PureDIGITAL technology, JAM enables musicians to practice, record and rock out with ultimate tone using the guitar amps and effects in Apple’s GarageBand software on iPad 2 or Mac. No configuration necessary, just plug in and play and experience the legendary sound quality of Apogee for $99.

“We’re very excited to enter the rapidly growing world of iOS with this incredible product,” says Apogee Co-founder and CEO Betty Bennett. “JAM is the first high-quality interface that makes a digital connection to your iPad, iPhone, and iPod touch, and the only one that also works on your Mac. You will immediately notice the difference between the sound quality of JAM and other similar products because its converters are designed by the same team of engineers responsible for our award-winning, high-end professional interfaces. JAM promises to become a standard for guitarists who want a professional, portable way to connect to these devices and benefit from the amazing music-making apps they offer.”

JAM by Apogee Highlights:

• PureDIGITAL instrument connection delivers pristine sound quality
• Designed for electric guitar and bass
• With no confusing setup, you can start recording in minutes
• Made for Apple’s GarageBand software
• Works with GarageBand on iOS devices or with any Core Audio compatible application on a Mac
• Control knob allows easy input level adjustment
• Multicolor LED for status indication and input level monitoring
• Studio quality instrument preamp with up to 40dB of gain
• High quality locking output connects directly to iPad, iPhone and iPod touch dock connector port or USB port on a Mac
• 44.1kHz, 24-bit analog-to-digital conversion
• Auto Soft Limit for optimal input level
• Made in the U.S.A.

JAM is compatible with iPad, iPhone 4, iPhone 3Gs and iPod touch (3rd and 4th generation) running iOS 4.2.1 and greater. It connects and is powered by the Dock connector port.

On the Mac, JAM requires OS X 10.6.4 or later, an Intel processor, 1 GB minimum of installed RAM (2 GB recommended), and an available USB port for host connection and power. JAM will work with Apple’s GarageBand, Logic Pro, MainStage or any Core Audio compliant application.

JAM will be available in March 2011 for $99.

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

Discuss JAM on our Hardware forum.

Avid today introduced Pro Tools | HD Native, enabling a growing market of music and post-production professionals to tackle demanding audio projects using the full capabilities of Pro Tools HD software running entirely on computer CPU host-processing power.

Taking advantage of the rapid advancement in the performance of computer processors, this newest member of the Pro Tools family couples the cutting-edge software features, premium sound quality and broad compatibility of Pro Tools | HD systems, with a highly efficient native audio driver. This combination offers customers outstanding performance without the additional dedicated processing hardware included in larger Pro Tools | HD DSP-assisted systems.

The Pro Tools | HD Native system offers customers a completely integrated professional hardware and software solution featuring a new Pro Tools | HD Native PCIe card and running Pro Tools HD software—delivering a new level of price-performance and simplified, open workflows for recording, editing and mixing. Providing the best audio quality, Pro Tools | HD Native uses Pro Tools HD Series interfaces for up to 64 channels of premium audio conversion and I/O.

Support for SYNC HD enables accurate synchronization to picture for post-production workflows. For integrated monitoring and tactile control, the system integrates with Avid ICON and C|24 work surfaces, and features lossless session and project interchange with other Pro Tools and Avid video editing systems for simplified collaboration.

Additional features include:

• Third-party DAW support—Opens up workflows by giving customers the flexibility to work on their DAW of choice with support for Core Audio and ASIO drivers, enabling broad compatibility with third-party audio applications, such as Apple Logic, Steinberg Cubase, and others, while also offering Avid-advantaged integration with our own solutions.
• Integrated low latency mixer—Allows customers to focus on recording high quality audio with near-zero latency, rather than the distraction of managing a separate low latency mixer. The Pro Tools | HD Native PCIe card enables customers to easily establish a low latency monitor path directly in the Pro Tools system with the push of a button for set and forget direct monitoring while tracking.
• Pro Tools HD Series Interface support—Offers customers the ability to achieve premium audio conversion with up to 192 tracks of audio, and up to 64 channels of I/O using HD I/O, HD OMNI and HD MADI. Customers can create flexible configurations that support a variety of analog and open digital formats for seamless integration into any audio environment. Giving customers an even broader selection of I/O, the system is also compatible with legacy Avid Pro Tools HD interfaces.
• Broad compatibility—Provides customers the flexibility to use their platform of choice with the highest performance and stability available on a native platform, supporting both Windows 7 and Mac Snow Leopard 10.6 or higher.

The Pro Tools | HD Native system will be available worldwide November 5 starting at $3,495. Pro Tools | HD Native will also be available bundled with Pro Tools HD OMNI I/O starting at $5,995. For regions outside of the U.S., please see your local retailer for pricing.

www.avid.com/products/Pro-Tools-HD-Native

Discuss Pro Tools | HD Native on our Pro Tools forum.

Avid has introduced a set of tools—including the new Pro Tools Mbox family, the M-Audio MobilePre and Pro Tools SE bundles—for a range of musicians who are seeking to create, record and mix music at home or on the road.

Designed for musicians and audio engineers looking to turn their Mac into a portable professional recording, mixing and production studio, the third generation of the Pro Tools Mbox family—Pro Tools Mbox Pro, Pro Tools Mbox and Pro Tools Mbox Mini—offers customers premium sound and open workflows with support for the industry’s most popular DAWs. Based on customer feedback, new features in the Pro Tools Mbox family include:

• Re-designed hardware with pro features delivering best-in-class audio—Delivers best-in-class audio quality, enabling customers to achieve professional results at home or on the road. Redesigned from the ground up leveraging Avid’s expertise in professional studio gear, the new Pro Tools Mbox family also features several workflow enhancements including: A professional-grade soft clip limiter that improves overall audio quality by letting users capture hotter signals while recording; and a multi-function button allowing Pro Tools Mbox and Pro Tools Mbox Pro users to control software parameters without using the computer mouse or keyboard.
• Freedom and flexibility to compose using Pro Tools LE or your DAW of choice—Gives customers more options to compose, record, edit and mix with seamless support for the industry’s most popular DAWs, including Pro Tools LE, Ableton Live, Apple Logic, Steinberg Cubase, and more, ensuring sessions are compatible with studios around the world.

For first-time Pro Tools users and emerging artists with an interest in musical composition, editing and production, the new Avid Recording Studio, Avid KeyStudio and Avid Vocal Studio systems provide everything needed to easily create and record music at home, including new Pro Tools SE software and proven M-Audio hardware.

With Pro Tools SE software included, the new Pro Tools SE Family serves as an introduction into the world of Pro Tools software by offering the same user interface found in Avid’s professional Pro Tools product line. Now, Pro Tools SE software offers customers groundbreaking music creation capabilities that leverage technology from professional-level Pro Tools products at a fraction of the price with a very intuitive user interface. The Pro Tools SE Family, which offers dedicated solutions for guitarists, keyboard players and vocalists, includes:

• Avid KeyStudio—Makes it easy for keyboard players to turn their inspiration into a professional-quality recording with a 49-note, velocity-sensitive M-Audio KeyStudio keyboard and Pro Tools SE music creation software.
• Avid Recording Studio—Allows customers to capture guitars, instruments and vocals in better than CD quality at 24-bit/48 kHz with Pro Tools SE music creation software and an M-Audio Fast Track audio interface.
• Avid Vocal Studio—Enables customers to record vocals for use in songs, soundtracks, podcasts or voice-overs with Pro Tools SE music creation software and the M-Audio Producer USB microphone.

With Pro Tools SE software, users can:

• Mix up to 24 tracks (16 audio tracks, 8 virtual instrument tracks) and use the included pro-quality effects—reverb, EQ, and guitar amp/distortion effects—to   create richly detailed and polished recordings.
• Use more than 100 different virtual instruments and more than 3 GB of audio loops to quickly construct songs and ideas.
• View integrated, intuitive tutorials that make it easy to learn how to compose, record, edit and mix on the Pro Tools SE platform.
• Record two instruments at once, and take advantage of built-in composing features including MIDI sequencing and score editing, which provide professional-grade creative solutions to users of every ability level.

The second-generation MobilePre delivers musicians an easy-to-use, full-featured studio-quality recording, mixing and production solution.  Customers can easily record anything from guitar, vocals, keyboards and more directly into their computer, and have the option to compose, record, edit and mix with included Pro Tools SE software, or any of the industry’s most popular DAWs, such as Pro Tools M-Powered, GarageBand, Apple Logic, Ableton Live and more.

Pricing and Availability

Pro Tools Mbox family pricing begins at $399 for the Pro Tools Mbox Mini, $679 for Pro Tools Mbox and $899 for the Pro Tools Mbox Pro. Pro Tools Mbox and Pro Tools Mbox Mini are available worldwide this month. Pro Tools Mbox Pro will be available worldwide in Q4.

Pro Tools SE bundles begin at $99.99 for Avid Vocal Studio, $119.99 for Avid Recording Studio and $129.99 for Avid KeyStudio and will be available in the US this month.

MobilePre is currently available worldwide for $179.

www.avid.com

Discuss the new Avid lineup on our Pro Tools forum.

Avid has introduced a series of newly-designed hardware and software solutions designed to enhance the quality and performance of Pro Tools|HD, the industry’s leading digital audio workstation. The new HD Series interfaces—HD I/O, HD OMNI and HD MADI—offer customers flexible configurations to support a variety of analog and open digital formats for audio recording, mixing and playback. Additionally, new HEAT (Harmonically Enhanced Algorithm Technology) software allows customers to add the realism of vintage analog sound to the Pro Tools mixer via a single global control—eliminating the time consuming and complex task of managing plug-in changes across multiple tracks and allowing customers to remain focused on the craft of mixing.

HD I/O, HD OMNI and HD MADI interfaces for Pro Tools|HD enable customers to achieve the highest-quality audio with improvements to digital audio conversion quality, a variety of new configuration options and increased support for open digital standards like the popular MADI protocol. Features include advances in design, filtering and clocking and flexible digital I/O connectivity, which offers support for a variety of formats. Additionally, Curv, a new soft-knee analog limiter in HD OMNI and HD I/O, cuts the time customers spend re-recording and editing by tracking hotter signals when recording, preventing distortion when overloading inputs. The new I/O options include:

• HD I/O: Enables customers to achieve the highest-quality audio record and playback with the option of three space-saving configurations—16×16 analog, 16×16 digital and 8x8x8 analog and digital—in a 2 RU rack mountable interface.
• HD OMNI: Frees up customer workspace by integrating the functionality of numerous costly outboard components into an all-in-one premium sound solution for recording, mixing and monitoring. Features include state-of-the-art conversion, two world-class mic pre-amps, headphone outputs, a full-featured surround monitor section and a 14×26 channel persistent mixer that functions even when the computer is off—letting users listen to CDs, MP3 players, keyboards and drum machines without the need for an additional mixer.
• HD MADI: Opens up workflows and speeds production time for broadcast, live sound and post production sound professionals by offering the ability to easily connect Pro Tools|HD systems to industry-standard MADI infrastructures, without the need for a format converter. Built-in sample rate conversion on all inputs and outputs allow customers to integrate into workflows with multiple sample rates (upstream and downstream) using a single, 64-channel 1 RU rack mountable interface.

Designed in collaboration with digital/analog engineer Dave Hill of Crane Song, the HEAT software option for Pro Tools|HD systems is an innovation for mixers who value the warmth and sound qualities of tubes, tape machines and analog consoles, but want to eliminate the complications and expenses of using tape machines and vintage outboard processors, or managing plug-in changes across multiple tracks. Customers can now directly add the best sounding euphonic qualities to every track in the Pro Tools mixer using a single, global control, dramatically enhancing sound quality and improving settings management.

HD OMNI, HD MADI and HD I/O converters and HEAT software are available now worldwide. Pricing begins at $3995 MSRP for HD I/O; HD OMNI is available for $2995 MSRP; HD MADI is available for $4995; and HEAT software is available for $495 MSRP in the box or via download on the Avid eStore.

www.avid.com

Discuss the new HD Series Interfaces on our Pro Tools forum.

Apogee Electronics today unveiled Symphony I/O, a new flagship multi-channel audio interface representing 25 years of design excellence and experience. Symphony I/O delivers a totally updated and optimized circuit design for next generation sound quality, Logic and Pro Tools compatibility, modular port configuration, stand-alone operation and compatibility with PCIe, Express/34 card, USB 2.0 and Ethernet.

Symphony I/O builds upon the award-winning design approaches of Apogee’s X-Series and Rosetta Series converters, the Big Ben master clock and the Trak2 mic preamps. It also refines and updates these proven designs with fewer but more advanced components while optimizing their performance with efficient power distribution. This design improvement minimizes the audio path circuitry and maximizes sound quality. And in the tradition of the X-Series and Rosetta series, the entire audio path is DC coupled, resulting in ultra flat frequency response and extremely low phase error.

The I/O Modules are the sound and soul of Symphony I/O, and represent 25 years of Apogee R&D and design excellence. These powerful Modules deliver Apogee’s core competency, superior sounding digital audio recording. With 5 available I/O Modules, you can choose from standard configurations or customize the following: channel count, analog to digital input, digital to analog output, mic preamps and digital I/O. You compose your Symphony I/O.

Apogee Symphony I/O, rear port configuration. Click to zoom.

With a 2-step adjustment using a single front panel encoder knob, Symphony I/O’s Audio Interface Modes (AIM) are ready for the most popular audio workstation environments. This feature allows users of Logic and Pro Tools HD for example, to easily switch back and forth between the two DAWs with the click of a knob and swap of a cable. The Symphony I/O PC-32 connector connects directly to a Symphony 64 card or a Pro Tools HD card. When using a Logic Studio Mac based system, latency is below 1.8ms at 96kHz. If USB is your preferred mode, connecting to Core Audio compatible apps like Digital Performer and Cubase is just as easy. And StandAlone mode calibrates Symphony I/O for simple and direct routing ideal for a variety of uses and applications including Pro Tools LE or Pro Tools M-Powered.

Symphony I/O is an audio hardware platform, designed to deliver the most advanced recording technology available and the flexibility, scalability, and longevity required to power the modern studio. Modular I/O design, total software control, and direct connection to all popular DAWs make Symphony I/O a long-term sound investment.

What makes Symphony I/O a great choice for your studio now and for years to come:

• Flexible design architecture with a base unit and two I/O module slots
• Up to 32 channels of I/O per unit
• Future proof connectivity with PCI, USB, Ethernet and all popular digital formats
• Compatibility with Logic, Pro Tools HD, Pro Tools LE and any Core Audio driven application
• A/D THD+N: -113dB @ +20dBu (0.00024%)
• D/A THD+N: -117dB @ +20dBu (0.00014%)
• D/A Dynamic Range: 129dB A weighted
• Apogee’s proprietary Perfect Symmetry Circuitry (PSC)
• Software controlled AD/DA reference setting
• Variable gain input for keyboards
• Ultra low latency AD/DA conversion
• Total software control of Symphony I/O with Maestro

Cue Maestro 2! Apogee’s software control application, Maestro, has been totally redesigned for Symphony I/O. Featuring a familiar single window, multiple tab interface for quick access to all device and system settings, the new Maestro makes routing, mic preamp adjustment, input and output calibration and low latency monitoring clear and easy to use. To reduce screen clutter, Maestro also features a minimized tool bar view with System Status display, volume controls and buttons to mute outputs and clear meters.

Highlights

• Speaker, headphone, and mic preamp level control
• Clock source, sample rate setting
• Audio Interface Mode (AIM)
• Minimized tool bar view with System Status, volume controls, mute and clear meters buttons
• Software controlled A/D & D/A calibration
• Comprehensive metering
• Intuitive audio routing
• 4 Soft Limit settings: -2 dB, -4 dBfs, Soft Saturate and Soft Crush

Symphony I/O is available for Mac OS only, and requires OS X 10.5.8 or later. It will be available in August 2010. Additional features will roll out in 5 monthly releases from August 2010 to December 2010.

www.apogeedigital.com/products/symphony-io.php

Discuss Symphony I/O in our Hardware forum.

“The MicroBook is small in size but huge when it comes to audio quality,” said Jim Cooper, MOTU Marketing Director. “Our tests show that it matches or exceeds the measured audio specifications of other so-called ‘high-end’ interfaces on the market that cost two and three times as much. So it’s perfect for discriminating users who want quality I/O for on-the-go recording, personal studio tracking, laptop-based DJing, and many other applications.”

The MicroBook gives users a complete personal recording solution for a laptop or desktop computer, with four simultaneous inputs for a microphone, a guitar, and a keyboard or other stereo line level device. The mic preamp delivers neutral coloration and pristine sound, with 20 dB pad and 48V phantom power for condenser mics. Programmable analog, digital, and headphone outputs provide flexible monitoring options.

• 4-input, 2-output bus-powered “plug-and-play” USB audio interface for Mac and Windows.
• 4 x 8 physical input/output channels.
• 10-bus digital mixer to route and mix live inputs with live computer tracks.
• Pre-amp equipped mic input with Precision Digital TrimTM, 48V phantom power, and 20 dB pad.
• Guitar input with Precision Digital Trim.
• Stereo line level analog input (balanced TRS quarter-inch or stereo mini).
• Stereo balanced TRS quarter-inch line level main outs.
• Stereo eighth-inch “mini” line level out.
• S/PDIF digital out (duplicates main out).
• Headphones output on eighth-inch stereo “mini” jack with independent volume control.
• Digitally controlled analog trim for all analog inputs.
• Digital trim for all outputs.
• CueMixTM FX no-latency mixing and monitoring with EQ and dynamics processing.
• 7-band parametric EQ and compression.
• Test tone and white/pink noise generator.
• Advanced audio analysis software tools, including FFT display, spectrogram “waterfall” display, oscilloscope, X-Y plot, and phase torch.
• Industry standard Mac and Windows audio drivers (Core Audio, Wave, and ASIO) for across-the-board compatibility.
• Compatible with all current and recent generation Macs and PCs.
• Includes AudioDesk DAW software for Mac, USB cable, and mic cable adapter.

On the Mac, the MicroBook interface requires a minimum 1 GHz PowerPC G4 or Intel CPU running OS X 10.5.8 or later, and an available USB port. The MicroBook is available now for $269 MSRP.

www.motu.com/products/motuaudio/microbook/

Discuss the MicroBook in our Hardware forum.

Mackie is proud to announce two new Onyx-branded premium recording interfaces – the Onyx Blackjack and Onyx Blackbird. These new interfaces provide the unmatched quality, feature sets and level of innovation for which Onyx gear is known for, priced to make any working musician or engineer smile.

Onyx Premium Recording Interfaces deliver ultra-professional recording quality and innovative features that make them really easy to use. Boutique-quality Onyx mic preamps and industry-leading AD/DA converters deliver unmatched fidelity, headroom and transparency for your recordings. Plus, features like true analog hardware monitoring simplify your workflow, allowing you to work like a pro and deliver the results you demand. From a simple, bus-powered desktop solution to a high-quality, high-input front end to your studio, these interfaces offer the utmost in sonic quality and simplicity. It’s time to work smarter and sound professional with Mackie Onyx Premium Recording Interfaces.

Onyx Blackjack 2×2 USB Recording Interface

• 2×2 24-bit recording to Mac/PC
• 2 Onyx mic preamps
• 48V phantom power for studio condenser mics
• 2 built-in DIs
• True analog hardware monitoring in mono/stereo
• Separate level control for monitors/phones
• Includes Tracktion 3 Music Production Software
• www.mackie.com/products/onyxblackjack/

Mackie Onyx Blackbird FireWire audio interface, rear ports, click to zoom

Onyx Blackbird 16×16 FireWire Recording Interface

• 16×16 24-bit/96kHz recording via FireWire/ADAT to Mac/PC
• 8 Onyx mic preamps
• 48V phantom power for studio condenser mics
• 2 easy-access Super Channels with integrated DIs, low cut switches and inserts
• Expandability via ADAT and wordclock I/O
• Dual headphone outs with independent level controls
• Separate monitor, main and alt outputs
• Powerful Blackbird Control DSP Matrix Mixer
• Includes Tracktion 3 Music Production Software
• www.mackie.com/products/onyxblackbird/

On the Mac, both new interfaces require a G4 processor or faster. The Onyx Blackbird requires OS X 10.5 or later, while the Blackjack requires OS X 10.4.11 or later. According to Mackie, both will be shipping soon.

www.mackie.com/products/onyxinterfaces/

Discuss the Onyx Blackjack and Blackbird in our Hardware forum.