The Focusrite OctoPre MkII Dynamic features eight channels of Focusrite’s legendary mic preamplification, with new, single-dial, VCA-based compressors derived from the classic Focusrite Red 3 on every channel.

Each channel has a VCA-based compressor which has been tuned by ear to model the sound of the legendary Focusrite Red 3. When designing the circuitry, Focusrite accurately matched the shape of the Red 3’s knee, to ensure the characteristics of the studio classic were captured. You can use the compressor to provide a clean, controlled sound, or, using the ‘more’ switch, it’s possible to transform the behavior of the VCA, doubling the ratio to deliver and invigorated effect compressor.

The preamp circuits are the same as those found in the Saffire PRO range of high-quality audio interfaces. As expected from all Focusrite preamps, these have an especially fast transient response and tolerance for high SPLs, as well as an unsurpassed, transparent sound.

On-board digital converters, with state-of-the-art clocking and jitter-elimination technology, enable you to stream eight channels of 24-bit/96kHz digital audio to and from an ADAT-equipped computer workstation or hard disk recorder. This makes it the perfect addition to your project studio setup or live recording rig, including those running Pro Tools M-Powered, LE and HD, as well as the likes of Logic, Cubase, Sonar and Digital Performer.

The A-D and D-A converters can operate at common sample rates of up to 96kHz, with dual TOSlink ports carrying the SMUX-compliant ADAT signal to and from your audio interface, mixing console or hard disk recorder. When running at 44.1kHz or 48kHz, the twin outputs are mirrored, so you can feed two ADAT-equipped devices — a computer audio interface and a backup recorder, for example — with the same signal.

In short, the OctoPre MkII Dynamic is the best-equipped, most comprehensive eight-channel mic pre on the market: Eight signature Focusrite mic preamps; Eight Red 3-derived compressors; World-class digital I/O: All in one box and within the project studio budget.

Unity Audio are showing two new Thermionic Culture items at this years Music Messe in Hall 5.1 stand D48.

The second is the Thermionic Culture – Rooster – Stereo Valve Mic/Line/DI with EQ and Attitude!

A valve based mic/line + DI pre-amp with EQ and a distortion section based around the same 5725 used in the ever-popular Culture Vulture. The input stage uses a custom 1200-ohm input Sowter transformer and an ECC81/12AT7 valve. The EQ section has a broad bass lift control with up to 15dB of Lift, peaking at 50H. A mid cut at 700Hz with 17dB of cut with a ‘Q’ that is dependant on the amount of Cut, and a selectable mid/high lift at 2.5k, 4k (“bell” shaped with 18 dB of Lift) and 10k ( shelving with 20dB Lift ) respectively. The 6 position bass cut is straight off the Earlybird 2 pre-amp.

The new ‘ Attitude’ section uses a 5725- Culture Vulture distortion tube offering subtle distortion characteristic in the triode position, more so than a Culture Vulture due to the higher HT voltage, and so has a very low (about 0.01%) distortion when the Attitude control is set to 1. In the pentode mode it generates more 3rd harmonic distortion. Distortion can be pretty radical when Attitude is set to Max and the input is high. The output valve is ECF80 which combines high output with low impedance (less than 100 ohms). There is +48v phantom power, and phase reverse. The output is unbalanced standard but a balancing transformer option will be available.

Price £1395.00 ex VAT

Unity Audio are showing two new Thermionic Culture items at this years Frankfurt Music Messe in Hall 5.1 stand D48.

The first is the Fat Bustard 12 channel valve mixer, and Audiotechnews thinks its something to be really excited about.

The final production model of the new Thermionic Culture FAT BUSTARD Valve mixer will be launched at this years Music Messe. It now has a total of 12 inputs instead of the 8 that were on the version previewed at the last AES NYC show, the inputs are arranged as 4x stereo pairs, 4x mono with pan controls, and all the channels have toggle mute switches. The simple but amazing Bass and Treble EQ now has 0.5dB stepped Lift controls while there are 6 way stepped Bass & Treble Cut controls.

Designer and owner Vic Keary has also come up with something new, a really sweet and effective stereo width control, a little reminiscent of some vinyl lathe cutting EQ’s.

Four valves are used on the master buss, a pair of 5965 double triodes, the first half of which is pre-amp/eq, the second half is gain makeup in conjunction with the dedicated ‘Attitude’ feedback control which determines the amount of THD. The Attitude control can yield a clean signal or add gain and some “valvy” 2nd harmonic distortion. The other pair of valves is the larger 6SN7 double triode connected in parallel to give massive headroom cleanly (approaching +30 dBm).

Additional pair of AUX inputs is also provided for future channel expansion by adding the optional Little Bustard 16 channel expander, which will be due later this year.

Retail will be approximately £2800.00 ex VAT

I think it was Thursday or Friday I got an email from Stiff over at ProToolerBlog, telling me it was ok to borrow his news from the NAMM Winter 08 Show, as long as I credited him with it, which seemed more than fair enough. In fact, it was really good of the fella.

Since then, I don’t think I’ve seen him NOT be online more than a couple of times, he’s been working almost 24/7 to bring his readers the latest news.

So I think it’s only fair that I just link over to some of his headlines and let the NAMM Vet himself tell you about the latest industry news.

Cheers Stiff!

____

Universal Audio partners with SPL, Empirical Labs and Valley People

UA reveals LA-610 Signature Edition – prestige tube recording channel

EastWest introduces Forbidden Planet

M-Audio introduces ProFire 2626

New Studiophile monitors from M-Audio

Spectrasonics previews flagship V.I. “Omnisphere” at NAMM 08

Complete Pro Tools “studios”

Digidesign D-Show 2.7 software upgrade

URS Classic Console Strip Pro v1.1 for Mac OSX PPC/ Intel

Overloud debuts TH1 Guitar Amp

The Nocturn controller, by Novation, is designed for use with Automap Universal 2.0, for the automatic, instant and intelligent control of all automatable plug-ins within every major sequencer, including Pro Tools.

Novation Nocturn features eight touch-sensitive rotary encoders, each equipped with a bright eleven-LED ring. These are accompanied by eight user-assignable illuminated buttons and a 45mm cross-fader. Also featured is a touch-sensitive rotary encoder that instantly takes control of whatever your mouse is focused on!

Novation says:

Little or no user setup is required, and plug-in control can be customized to be laid out just the way you like it, no matter what music software you use. Simply boot up the plug-in, and you’ll see at a glance how the parameters are automatically assigned to each of Nocturn’s controls. An instant click and control ‘learn’ function is also available for quick re-assigning of controls, or for creating your own controller map in seconds. Multiple page options mean that you can assign a potentially infinite number of parameters for each plug-in.

The combination of Automap Universal 2.0’s heads-up transparent control GUI and Nocturn’s touch-sensitive dials remove the pain inherent in controlling multiple instruments and effects, allowing you to jump instantly from one plug-in to the next; so you’re free to focus on what matter most – your music.

Speaking of NAMM 2008, Focusrite’s new ‘ISA One’ microphone pre-amplifier is getting an airing at the industry trade show too. ISA One delivers Focusrite’s prestigious ISA transformer-based pre amp in a rugged and portable chassis, even if it does look like part of a Sci-Fi films set.

ISA One features the classic vintage microphone pre-amplifier topology from the original ISA110 module, including the Lundahl L1538 transformer and bespoke zobel network. (The original 110 pre amp formed the cornerstone of each channel of Focusrite’s Forte console.)

The pre amp is featuresa line input (XLR and TRS Jack) and an independent D.I. channel, complete with dedicated gain control, active or passive impedance switch, a TRS Jack output for routing to an amp and an independent XLR output on the rear.

Here’s how Focusrite roll:

A variable impedance circuit has been added, allowing the user to switch between four carefully selected input impedance settings. In addition to the original ISA110 impedance, three further impedance settings allow perfect matching, or creative mismatching of the pre amp with any microphone.

ISA One also features an insert point, should the need arise to place extra processing between the pre amp or D.I. and the optional converter. Phantom power, phase reverse and a 75Hz, 18dB/octave high-pass filter are also available from the angled front fascia.

Oh, and it’s got a headphone socket with a dedicated volume control too, because it’s groundbreaking…

An optional stereo A-D converter is also available, which can be retrofitted at any time and provides two channels of 24 bit/192kHz A-D conversion with a dynamic range of 119dB.

The owners of Rain Studios, a recording studio previously based in Nottingham, England are searching for new premises.

The impressive studio boasts a Neve Capricorn desk, runs Pro-Tools and Nuendo on Mac, and PC respectively.

The engineers at Rain pride themselves on combining the old with the new – digital technology combined with an old school way of recording and mixing.

For more info – visit their website

Eclipse Sound & Light in Suffolk, UK has decided to become a player, as it’s just bought an Electro-Voice XLD compact line array system.  The speaker configuration consists of 12 XLD281 top boxes plus four XLC215 bass bins, powered by EV’s Tour Grade amps.

Eclipse have gone for a  48-channel Midas Legend L3000, so Audiotechnews would love to hire in the speakers, but will bring the desk himself, thanks very much.

So Led Zeppelin’s reunion gig – did anyone here go? Are you “Big Mick” Hughes? Audiotechnews would love it if you were, you and your wife.

Robert Plant’s personal sound engineer, Roy Williams, was on the desk too! I suppose it was a case of one hand each on the desk, and the remaining digits meeting to form a bond of fear and mutual respect. Yes I mean holding hands.
Pro Sound News report this

As Big Mick admitted afterwards, “The pressure for this gig was definitely on!”

With that in mind, audio for the show was supplied by various UK-based sound rental companies, including Britannia Row and Major Tom Ltd., the latter of which brought an enormous Meyer Sound PA based around Milo and Mica loudspeakers, while the former had, among other gear, a Midas XL8 digital mixing system on hand for the FOH position and a Midas Heritage 3000 handling monitors at stage-side. Making an unofficial real-world debut, Klark Teknik’s DN9696 high resolution hard disk recorder was used to record the event for posterity.

To be fair, more than a few (reporters) remarked on rough spots in the mix early on, but The Independent, Billboard and Uncut all conceded that the sound was on track by the time “Black Dog,” the evening’s third number, began–and fans quoted in The Telegraph went so far as to call the evening’s audio “fabulous.”

“It was like a rollercoaster ride,” Big Mick laughed. “You had better hold on tight!”

Fantastic. Audiotechnews knew he wasn’t going to get tickets, so decided to forget all about it. All of a sudden, he wishes he’d had the kick drum fader, and maybe some toms.

“Sound Pro Latin America is a new serious proposal, created by professionals, that has a main goal to educate on new technologies for professional audio, promoting y teaching technical knowledge (theory and practice) for professional growing” Technoprofile magazine reports

Now, even taking into consideration the language barrier – being the sensitive, fair and well meaning individual I am – this sounds like a load of rubbish.

I am of the view that it’s more fun to learn things yourself, as well as almost always being more productive. I have friends who can recite text book perfect theory of sound design, acoustic treatment techniques, reverb wave forms and anything else on the university course they wasted their time on.

They couldn’t work a PA though. In fact, one of them got a job at a venue and didn’t realise the subs were still switched off.

Anyway – my jaded and cynical attitude aside, here’s some more about this Latin American course, which some readers may find of use. And looking into it more – it’s feasible that it might possibly JUST be ok

EDUCATIVE PROPOSALS
In every event organized by Sound Pro Latin America an official AES attendance certificate will be provided.

Recording and mixing techniques:
-Digital audio
-MIDI
-Signals processing
-Wiring and connections on a studio
-Home studios acoustics
-Electronic and acoustic metering
-Audio electronics
Speaker: Carlos Gauvron

Musical production:
-Recording
-Mixing
-Musical production
-Artistic creativity
-Clinic on musical production
Speaker: Pedro Aznar

Mastering/Full DVD production:
-CD mastering
-Full DVD production
-CD and DVD mastering
-Full DVD production seminar
Speaker: Eng. Andres Mayo

Live sound:
-Sound and listening basis
-Consoles and signals processing
-Microphones and their frequency processing, dynamics and timing
-Speakers calibration and electro-acoustic control
-Design, use and setting of conventional systems
-Design, use and setting of linear systems
-Design, use and setting of sound reinforcement systems
-Advanced tools for electro-acoustic analysis
Speakers: Salvador Castaneda, Oscar Gamas

Live sound recording:
-Live recording, lay-out, logistics, synchronization, timing
-Mixing for radio and TV, their differences to musical production
-Levels, headroom and equalization control
-Production for analogue and digital broadcasting. Differences and considerations
-Examples in theory and practice of recordings made
Speaker: Martin Sznaider

Acoustic design:
-Acoustic design and setting for recording studios
-Problems and solutions
-Examples in the practice
-Presentation and description of several of the 400 projects made in Latin America
Speaker: Sergio Molho (WSDG)

Drums & Percussion:
-Clinic-Concert
-Workshop-Seminar
Speaker: Cristian Judurcha / Facundo Guevara

They haven’t got an English translation going yet on the official website, but if you don’t need one, click here