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

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

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.

Cakewalk has announced the immediate availability of a new Mac Support update for the V-Studio 20, enabling the VS-20 hardware and Effects Editor to be used with all popular Mac-based recording software titles. The update provides Mac users with all the benefits of recording with the V-Studio 20 COSM guitar and vocal effects; and use of the V-Studio 20 hardware as dedicated universal DAW controller. Additionally, both GarageBand and Logic can be further integrated into the V-Studio 20 system using the included custom control surface plug-in included in this update.

The compact V-Studio 20 hardware combines a USB audio interface, stereo microphones, and a basic universal DAW controller that supports all popular digital recording software for Mac/PC via Mackie control protocol. The V-Studio 20 matches the simplicity of a portable, hardware recording system with the power, flexibility, and control of modern computer-based recording. Whether you’re at home or on the road, you can easily connect a guitar or mic to the VS-20 hardware, then dial up genuine BOSS guitar effects and Roland’s breakthrough COSM modeling.

VS-20 Hardware Features

• Stereo USB 24 bit, 44.1 kHz Audio Interface
• Genuine COSM DSP Chip providing zero-latency direct monitoring
• Eight dedicated channels with volume and track select
• Track bank controls
• Full Transport Controls
• One-touch access to the VS-20 Effects Editor
• One-touch access to the chromatic tuner in the VS-20 Effects Editor
• Controls for browsing presets in the VS-20 Effects Editor
• Input selection and input sensitivity controls
• Dedicated volume controls for DAW output, VS-20 Effects and Main Outs
• XLR Mic Input with Phantom Power
• Hi-Z Instrument Input
• 1/4″ Stereo Line Inputs
• Built-in Stereo Microphone
• 1/4″ Headphone Output
• Stereo RCA Line Out
• Two independent 1/4″ Footswitch and Expression Pedal jacks

The free V-Studio 20 Mac Support update includes:

• OS X 10.5 & 10.6 (Snow Leopard) drivers for the V-Studio 20 hardware (Mackie Universal Control)
• OS X 10.5 & 10.6 (Snow Leopard) support for the COSM effects Editor
• Plug-in for GarageBand and Logic to allow control surface support

The V-Studio 20 Mac Support Update for OS X 10.5 & 10.6 (Snow Leopard) is available as a free download from the Cakewalk website.

www.cakewalk.com/support/kb/reader.aspx?ID=2007013161

Discuss the V-Studio 20 in our Effects forum.

TASCAM is showing off the new US-800, a lightweight, great-sounding multichannel recording interface for laptop users, at the 2010 NAMM show (Booth #6491).

This portable USB 2.0 based interface offers eight inputs and four outputs for capturing dynamic multi-mic performances. Six XLR microphone inputs each have phantom power for attaching condenser microphones, and premium 192kHz/24-bit audio converters record every detail.

The US-800 includes coaxial S/PDIF digital audio in and out as well as MIDI in and out for linking up to your studio. The rugged, lightweight package is ideal for mobile or desktop recording. For great-sounding multi-mic recording, the US-800 packs an incredible amount of features into an interface you can bring anywhere.

Click to zoom

Features:

• 8-in/4-out USB 2.0 Audio/MIDI interface
• Six XLR mic/line “combi” inputs with phantom power
• Up to 192kHz/24-bit audio resolution
• Lightweight design for mobile or desktop use
• S/PDIF coaxial digital input and output
• Stereo RCA analog output for monitoring
• Standalone only mode for use as microphone preamp
• 2-segment LED metering for each analog input
• 1/4″ and 1/8″ stereo headphone outputs
• 16-channel MIDI input and output
• Includes Cubase LE4 48-track recording software

www.tascam.com/products/us-800.html

Discuss the TASCAM US-800 in our Hardware forum.

Akai Professional has unveiled the APC20, the second control surface created by Akai for performance with Ableton Live software. Like the APC40, the APC20 promises to transform the user’s experience from one of constructing tracks with a keyboard and mouse to composing and performing with a seamless, fully integrated hardware/software musical system.

The APC20 retains many of the APC40’s most popular features and capabilities, while shrinking the physical footprint and adding interesting new capabilities. The smaller size enables musicians to perform in less space and makes setting up multiple controllers and devices easier. Power users can use the APC20 in conjunction with an APC40 to expand their track and clip controls.

Like the APC40, the APC20 centers on its five-by-eight Clip Launch grid. This bank of multicolor triggers not only start and stop clips playing in Live, they also show cells’ status in the software – whether a clip is loaded or not, whether it is playing or not, record-armed status and more. Clip Stop triggers, transport controls and faders round out the control surface. Users can switch the APC20’s faders between volume control, pan, sends and three different user-mapped modes. A new Note Mode enables musicians to use the Clip Launch buttons to control virtual instruments and Ableton Live’s Drum Rack.

Because Akai Professional and Ableton designed the APC20 for use with Ableton Live software, the system is truly plug and play, although advanced Live users will appreciate that the APC20 enables them to remap every one of its controls to suit their own style.

“The APC20 is perfect for performers who like to customize their setup with multiple controllers, or just want a more compact setup,” said Adam Cohen, Director of Business Development, Akai Professional. “You’ll spend less time looking at the computer screen, using a mouse and keyboard with the APC20”

Mac system requirements include a G4 CPU or higher, OS X 10.3.9 or later, 512 MB RAM, QuickTime 6.5 or later, a DVD-ROM drive, and a USB port. An Intel CPU and 1 GB RAM are recommended.

The APC20 will be available from pro audio and musical instrument retailers in January 2010. It has a U.S. Retail Price of $299.00 and an estimated street price of $199.00

www.akaipro.com/apc20

Discuss the APC20 in our Live forum.

Avid today introduced the new M-Audio Oxygen series: the first USB MIDI keyboard controller to feature DirectLink, a hassle-free control mode that instantly maps the Oxygen‘s controls to a digital audio workstation (DAW), giving musicians intuitive hands-on control over a session right from the keyboard. Redesigned with a fresh look for stage and studio use and available in 25-, 49- and 61-key models, the Oxygen keyboards are ideal for laptop production, live performance and professional studio applications.

The Oxygen series controllers feature full-size velocity-sensitive keys along with a complement of sliders, knobs and buttons for tweaking and performing with software instruments. With DirectLink, these same controls instantly map to a DAW’s mixer, pan, and transport functions, providing real time control with a variety of DAWs including Pro Tools, Cubase, Reason, Logic and Garageband.

“The new Oxygen controllers take M-Audio’s classic Oxygen line to the next level with DirectLink, making it easier than ever to record, mix and shape a musical performance straight-away without any complicated set up,” says Avid product Manager Tim Chandler. “DirectLink is simple, but effective – automatically linking up with useful controls in your music software. Ultimately, players and producers are able to be more creative and get musical results without the need for complex MIDI mapping or controller programming.”

The Oxygen 25, 49, and 61 are currently shipping for a suggested list price of $149.95, $189.95, and $249.95 respectively.

www.m-audio.com/index.php?do=products.family&ID=USBkeyboardcontrollers

Discuss the Oxygen series controllers in our Hardware forum.

TASCAM has upgraded their best-selling US-122mkII and US-144mkII USB 2.0 Audio/MIDI Interfaces, unveiled the US-2000, a new 16-input audio interface condensed into only one rack space, and announced the US-100, a new USB 2.0 Audio Interface positioned at a breakthrough price.

TASCAM US-122mkII and US-144mkII

The US-122mkII features improved audio performance along with a new, eye-catching compact design. The US-144mkII shares the design improvements, adding S/PDIF digital audio I/O for four channels of 96kHz/24-bit audio to and from a computer. Both interfaces use USB 2.0 technology for hiccup-free low-latency performance to Mac or Windows computers.

The TASCAM US-122mkII and US-144mkII feature a pair of XLR microphone inputs with phantom power for recording condenser mics into a computer. Balanced line inputs and a guitar level in are also provided. MIDI in and out jacks allow for synthesizer and control messages to be passed to the computer, and the unbalanced line outputs connect to studio monitors. The US-144mkII has the addition of digital in and out, for a total of four channels, and a dedicated headphone level control means you don’t need to switch off your monitors when recording on phones. A copy of Steinberg’s 48-track Cubase LE4 is included to begin recording right away.

TASCAM’s US-122mkII and US-144mkII will be available from TASCAM retailers in October. Estimated street price for the US-122mkII is $129, the US-144mkII is expected to sell for $149.

Features:

• Bus-powered USB 2.0 audio interface
• (2) XLR microphone inputs with phantom power
• (2) 1/4″ balanced line inputs
• Switchable guitar level input
• 1/4″ stereo headphone output
• MIDI input and output
• S/PDIF stereo coaxial input and output (US-144mkII only)
• Individual Line and Headphone out level controls (US-144mkII only)
• Up to 96kHz/24-bit audio resolution
• Zero-latency hardware monitoring
• Mac and Windows drivers included
• Steinberg Cubase LE4 48-track recording software included
• Aluminum case construction

TASCAM US-2000

Eight studio-grade microphone preamps welcome condenser microphones, and two of the mic inputs are on the front panel for easy access. An additional six balanced 1/4″ line inputs are provided, as well as four balanced line outs and stereo digital I/O. The front panel features a 100-LED meter bridge for setting input and output levels. The US-2000 connects to a computer through high-speed USB 2.0, and is priced about the same as less-capable 8-channel FireWire interfaces.

Included with the TASCAM US-2000 is Cubase LE4, a 48-track workstation for Mac or Windows computers. It includes flexible hardware controls for zero-latency monitoring during recording. The TASCAM’s US-2000 will be available from TASCAM retailers in October at a projected street price under $500.

Features:

• 16-in / 4-out USB 2.0 audio interface
• 96kHz / 24-bit audio resolution
• (8) XLR microphone inputs with phantom power
• (6) 1/4″ balanced line inputs
• (4) 1/4″ balanced line outputs
• (2) 1/4″ instrument inputs (chan. 7 & 8 on front panel “combi “jacks)
• Stereo S/PDIF digital in and out
• 100-LED meter bridge (5 segments for each input and output)
• Zero-latency direct monitoring with mono/stereo switch for each pair of inputs
• 1/4″ balanced stereo monitor output with its own volume control
• 1/4″ stereo high-powered headphone output
• Mac and Windows compatible
• Steinberg Cubase LE4 48-track recording software included
• High-tech, attractive aluminum case design

TASCAM US-100

This entry level interface features a microphone input as well as instrument level input for direct recording guitar or bass. Stereo line inputs are provided, and can be switched to phono-level to connect a favorite turntable to digitize a vinyl collection. All of this is housed in a solid aluminum chassis to withstand any abuse from the road to the dorm room.

The US-100 is a 48k/16-bit stereo audio interface that connects to a Mac or Windows computer using USB 2.0. A free copy of Audacity software is included to start recording right away. Additional features like a 1/8″ stereo headphone output and zero-latency monitoring make the US-100 perfect for songwriters and musicians getting started with recording.

TASCAM’s US-100 will be available from TASCAM retailers in September at a street price under $100.

Features:

• Bus-powered USB 2.0 audio interface
• XLR or 1/4″ microphone input
• 1/4″ guitar-level direct input
• RCA line inputs, switchable to RIAA photo inputs with ground lug
• 1/8″ stereo headphone output
• 48kHz/16-bit audio resolution
• Zero-latency hardware monitoring
• Mac and Windows compatible
• Audacity recording software included
• Solid aluminum case construction

TASCAM has also created the Track Pack X1 and Track Pack X2 bundles for musicians looking for an inexpensive way to start recording in their computers. The Track Pack X1 contains the new US-100 USB interface, dynamic microphone and set of closed-ear headphones for under $150. The Track Pack X2 features the new US-122mkII audio interface, TM-78 large-diaphragm condenser microphone and Cubase LE4 48-track recording software for under $200. The new US-100 and US-122mkII interfaces are compatible with Mac and Windows computers, including Apple’s new Snow Leopard operating system. TASCAM Track Packs will be shipping in time for holiday sales.

www.tascam.com/

Discuss TASCAM audio interfaces in our Hardware forum.

Akai Professional has unveiled the LPD8 laptop pad controller, LPK25 laptop performance keyboard controller and MPK61 full-size keyboard MIDI controller. All three will make their debut at Akai’s booth, number 400, at the Summer NAMM Show held at the Nashville Convention Center, July 17 – 19.

The LPD8 and LPK25 are USB-MIDI controllers for musicians, producers, DJs and other music creators. Each model is less than 13 inches across and weighs less than a pound to easily fit into a laptop case, backpack or messenger bag for extreme portability.

The LPD8 is based on Akai Professional’s MPC line of iconic music product stations. While the smallest model, the MPC500 is quite portable, many producers prefer to work with software on their computer and the LPD8 gives their laptop the controls they prefer over a mouse and keyboard. The LPD8 has eight blue light-up pads that are velocity sensitive for programming rhythmic or melodic parts. The pads can also send program-change information to software. The LPD8 also has eight assignable Q-Link knobs to which users can assign virtually any parameters in their software for hands-on control.

The LPK25 is a scaled-down relative to the MPK series of keyboard performance controllers. The diminutive keyboard is made up of 25 miniature, velocity-sensitive keyboard keys with synth action. The LPK25 contains an arpeggiator, which steps through chords automatically, assisting musicians with creating quick melodic ideas. Sustain, octave up and down and tap tempo controls round out the LPK25’s easy-to-learn layout.

Each controller works plug and play with Mac and PC and requires no software driver installation or wall power for operation. Both the LPD8 and LPK25 have four memory banks for programming and recalling settings appropriate to different software programs they use.

The MPK61 is a keyboard performance MIDI controller that expands the popular MPK line. Each MPK controller combines a piano-style keybed with a bank of genuine Akai Professional MPC pads, assignable Q-Link controllers and some of the technologies from the icon MPC. Producers, performers and DJs will appreciate the MPK61’s mix of 61 semi-weighted keys with aftertouch, 16 MPC pads with velocity and pressure sensitivity, 72 assignable Q-Link, MPC Note Repeat, MPC Swing and an arpeggiator. The MPK61’s size is ideal for performers who need a larger range than the original 49-key MPK49 offers, but also prefer the lighter weight and associated portability of a semi-weighted keyboard.

The MPK61 comes with Ableton Live Lite Akai Edition software, one of the most popular and powerful performance and production programs worldwide. Ableton Live Lite enables musicians to spontaneously compose, record, remix, improvise, and edit musical ideas in a seamless audio/MIDI environment. The MPK61 is a MIDI controller that sends MIDI values over USB for plug-and-play performance with Mac and PC.

The LPD8, LPK25 and MPK61 will be available from musical instrument and professional audio retailers Q3 2009.

Discuss the new Akai MIDI controllers in our Hardware forum.

Alesis announces the USB-MIDI Cable, a simple and affordable way to interface MIDI instruments with computers via USB. The USB-MIDI Cable will make its debut at Alesis’ booth, number 400, at the Summer NAMM Show held at the Nashville Convention Center, July 17 – 19.

The USB-MIDI Cable is the latest addition to Alesis’ AudioLink Series of problem-solving cables for musicians. The MIDI-to-USB cable has traditional male and female MIDI (DIN) connectors on one end and a USB connector on the other. Musicians can use the USB-MIDI Cable to control virtually any MIDI-compliant software using any hardware device with a MIDI output jack, such as a keyboard, drum pad or MPC.

The USB-MIDI Cable is class compliant for plug-and-play USB connectivity on Mac and PC, requiring no software-driver installation or external powering. Musicians can use the USB-MIDI Cable with virtually all music production, sequencing and recording software.

“This new cable is perfect for bringing older MIDI controllers into today’s computer-music age,” said Jim Norman, Product Manager, Alesis. “The USB-MIDI Cable is one of those problem solvers that should be in every studio as an insurance policy, if nothing else.”

The USB-MIDI Cable will be available from musical instrument and professional audio retailers later this year.