Novation are soon going to release a new range of compact USB MIDI controllers based on their more advanced (and expensive) ReMOTE Series. This is exciting — a really good controller keyboard should be all the hardware you need to make a lot of music (along with several gigs of appropriate software). And these look pretty good, especially with both a joystick and a touchpad as well as many knobs and a decent keyboard. As a bonus, you also get a copy of the Novation Bass Station soft synth. I remember the classic hardware Bass Station when it came out — beatifully designed, both in form (sexy blue keyboard) and function. I’d love a shiny new ReMOTE LE 25, but it looks as if I will have to wait till September.

The Novation website has the full story: Unsurpassed MIDI controlling technology from the true pioneers, Novation, is soon to be available in its most compact format to date. The stylish ReMOTE LE 25-, 49- and 61-key USB controller keyboards include some of the best features of the highly regarded ReMOTE Series, tailored down into a smaller, more portable package.

Amongst the features to be carried through is the extremely popular X/Y Touchpad, allowing up to four parameters (two per axis) to be modified simultaneously with just a simple finger glide. The pitch bend/modulation joystick is another of the ReMOTE’s useful tools to be featured, enabling a host of interesting performance effects. Dedicated Transport control is provided, but now with an additional Loop button.

A total of nine buttons and nine knobs can be found on the hardware, together with a Group switch that doubles this number to eighteen, so that any area of the receiving MIDI device (hardware or software) can be modified with ease. The MIDI spec enables any MIDI message to be assigned to any of the controls (buttons, knobs, X/Y Touchpad and joystick) to an unrivalled level of detail, providing endless configuration options to suit even the most demanding user’s needs.

There are 16 onboard Template memories for saving ReMOTE LE setups, 12 of which are factory preset for use with the most popular software applications, in addition to many more available for free on this site. Also featured on the accompanying CDROM is a powerful Template Editor, which makes constructing Templates even simpler and more intuitive than is possible with the hardware alone. Meanwhile, in the box there are 10 physical Template overlays, 7 printed and 3 blank, to help customise the ReMOTE LE for the software being controlled; the user simply places these over the ReMOTE LE to see what control is assigned to what parameter, avoiding having to memorise the function of each knob/button.

The keyboard is semi-weighted and velocity-sensitive, offering the highest quality action and setting a new keyboard standard for affordable controllers. This gives the ReMOTE LE more of a synthesizer feel than many other controller keyboards, which often seem more like computer peripherals than actual instruments.

And finally, as if the hardware weren’t enough, ReMOTE LE ships with Novation’s ‘Bass Station’, a VST and Audio Unit plug-in which flawlessly re-creates the warmth, character and ‘oomph’ of the enormously successful Bass Station keyboard and rack analogue instruments, which have established themselves as a turning point in synthesizer history.

The combination of funky performance tools, an unrivalled range of MIDI controls and options and a Soft Synth classic bundled for free, make the ReMOTE LE series the number one choice for musicians wanting to trigger samples, lay down bass-lines or control a sequencer with flair. Whether completely new to MIDI controlling or at a relatively advanced level, the ReMOTE LE series won’t fail to satisfy.

Pick up a ReMOTE LE from all Novation stockists in September.

The MZ-M100 and MZ-M10 Portable Audio Recorders breathe new life into an old format. Remember the MiniDisc? Me neither. I thought they had pretty much died, but Sony has resurrected the format by improving it (more storage, no lossy compression) and releasing some portable recorders. Perhaps they already have others in their range, but these two new ones may be worth a look when they are released next month.

They use the Hi-MD format. Basically, this is MiniDisc, except it can hold 1GB of data without lossy compression. This means you could use it as a replacement for a rewritable CD — you can connect these devices to a computer over USB (though it might be a bit slow transferring 1GB over plain USB). The discs are cheap enough — much cheaper than CompactFlash cards or other solid-state options. You can even reformat old-style MiniDiscs to use the new format, but I don’t think you get the full 1GB then.

The MZ-100 has a bigger and brighter screen, a remote control and longer battery life. Otherwise the two are the same. The blurb on Sony’s website says this: This Hi-MD portable audio recorder is ideal for journalists and musicians who need to make high-quality stereo audio recordings using cost-effective removable storage media. The MZ-M100 recorder comes supplied with an ECM-DS70P Stereo Microphone and MDR-EO931Earbud Headphone. The recorder uses affordable Hi-MD media with 1 GB storage capacity. Three recording modes are supported including: Linear (PCM) 44.1kHz/16-bit, ATRAC3plus 256kbps (Hi-SP) mode and ATRAC3plus 64bps (Hi-LP) mode. The recorder supports USB uploading + downloading with PC (using supplied Sonic Stage software), and USB uploading with MAC (using supplied Hi-MD WAV importer software), allowing transferring audio recordings to a computer in .Wav file format. This Hi-MD device can also be used as a USB mass storage device, allowing storing data files on the Hi-MD disc along with audio recordings.

MZ-M100 Key Features Include:

– 6 line large EL (Organic Electroluminescence) display
– Ability to record from multiple sources (USB, Line In, Mic In)
– Self record uploading allows transferring Hi-MD recordings onto a computer as a .wav file
– Up to 33 hours of battery life with rechargeable battery (supplied) and 1 “AA” battery
– Hi-MD selectable recording time provides 94 minutes of uncompressed PCM linear audio, or up to 34 hours of ATRAC3plus compressed audio
– Compatible with both Hi-MD media and standard MiniDisc media
– Data file storage allows storing data files on Hi-MD discs along with audio recordings
– Music and data transfer powered by USB
– Digital amplifier

M-Audio has announced shipment of their MicroTrack mobile digital recorder. Think of it as a recording iPod. It records 2 24-bit channels at 96kHz to CompactFlash aas WAV or MP3 files. It has the inputs you might expect, including phantom power for microphones. Looks interesting if you need this level of recording quality, but there are recording MP3 players out there that fulfil the basic function.

Another competing product is the Edirol R-1, which doesn’t look quite as groovy but has similar specs and may be slightly cheaper. It also has built-in microphones, which makes it more portable even though it’s a bit bigger.

Only Harmony Central seems to have the press release at the moment. (Oddly, it’s not on the M-Audio site.) They say: Only about the size and weight of a deck of cards, the MicroTrack 24/96 digital recorder is a mobile 2-channel digital recorder that records WAV and MP3 files to CompactFlash media or microdrives. While the unit is designed primarily as a professional field recorder and songwriter’s notebook, it will also be embraced by other markets including business, education and worship.

[Editor’s note: “worship”?!]

Despite its small size, leaps in miniaturization technology allow the MicroTrack 24/96 to deliver the same quality as M-Audio’s audio interfaces–up to 24-bit/96kHz PCM. The unit can record via balanced 1/4″ line inputs or built-in microphone preamps complete with 48V phantom power for studio-quality microphones. Balanced 1/4″ TRS line inputs also make it easy to take a feed directly from a studio or club mixer. S/PDIF input provides for recording the output of digital mixers and doing transfers from other digital recording/storage devices. Monitoring is provided via the 1/8″ stereo headphone jack or RCA line outs.

The R-1 Portable 24-Bit WAVE Recorder & Player looks like a very nice device for field or live recordings. The best thing is that is has almost everything you could want in one smallish box — it’s (just) small enough to fit in your hand. It has built in stereo mics, and onboard effects if you need to tweak the sound.

I don’t have much use for a portable recorder, but I have been looking at this since the Microtrack was announced. That device garnered lots of attention, but many people were unimpressed and prefer the R-1 instead.

This device seems pretty popular among people who need to do live recordings, or even to use a a sketchbook. Edirol’s R-1 Portable Recorder & Player website has all the details. Here’s what it says.

Top-Grade Components, World-Class Sound

Searching for the highest recording quality in a portable device? EDIROL handpicked the top analog and digital components for the R-1. The unit records and plays back at crystal-clear, 24-bit audio resolution without compression. Electrolytic capacitors provide stable, reliable power to the analog circuits, eliminating DC interference and offering a truly low-distortion sound. Maximum recording time is approximately 137 minutes (MP3, 64 kbps mode) when using the included 64 MB memory card. The R-1 offers nine quality modes ranging from 64 kbps compression to 24-bit linear WAV.

Record via Built-In Mic, External Mic, or Line Inputs

Need to record quickly, easily, with pro results – and without having to buy extra components? The R-1 is equipped with two omni-directional electret microphones for quick and clean capture. It offers superior results using internal microphones because it is completely solid state – the R-1 makes no noise itself for the internal microphones to pick up. Just press the REC button, the level indicator pops up on the display, and you’re instantly ready to record. The R-1 also lets you capture audio through its external line or microphone input.

Internal Effects, Metronome, & Tuner

The R-1 goes above and beyond the competition with its pro-quality internal effects processor, equipped with 13 tools for perfecting your sound (microphone simulator, noise suppressor, hum-cut, EQ, reverb, center canceller, and more). The EQ of the R-1 offers a variety of presets for various styles of music. The R-1 also provides Tuner and Metronome functions, making it an excellent portable music-practice tool!

Take it Anywhere

Robust, rugged, and ready to travel, the R-1 is built to withstand the rigors of the road. Capture the sounds of nature, record live music, use it as an MP3 player, plug it into your studio gear or stereo for pristine playback – the options are vast. The R-1 runs on two AA batteries or from the included AC adaptor.

Convenient Connectivity

In addition to its headphone output and external audio inputs, the R-1 can connect to the outside world via USB 2.0 for importing/exporting WAV / MP3 audio files directly to the computer. The R-1’s headphone jack also doubles as an S/PDIF optical out, so you can stream audio to digital equipment such as digital speakers or DAT/CD/MD recorders.

Main Specifications

Audio Input: Internal Microphone (stereo): Stereo Microphone (1/8″ phone jack : plug-in powered compatible type), 1/8″ Stereo Line Input
Audio Output: 1/8″ stereo phone jack, Headphones (1/8″ stereo phone jack), S/PDIF 1/8″ phone optical type (same port as Headphones)
Recorder/Player: 2 Tracks (1 stereo track) Recording data format WAV, MP3, CompactFlash(tm) card Up to 2 GB capacity
Audio Effects: 1. Easy EQ (11 presets), 2. For Speech, 3. Voice Perform, 4. Editable EQ (10 Band EQ : 32/64/125/250/500/1k/2k/4k/8k/16k Hz), 5. Noise Reducer, 6. Hum Noise Cut, 7. Reverb, 8. Int-Mic Rec. (Mic Simulator Optimized for Built-in Mic), 9. Ext-Mic Rec. (Mic Simulator for External Mic), 10. Mastering, 11. Center Cancel, 12. Tuner, 13. Metronome
Weight: 205 g / 8 oz (excluding CF and batteries)
Dynamic Range: 83dB (S:N 93 dB)
Nominal Input Level (adjustable): Mic input: -40dBu (input level set to maximum), Line input: -10dBu (input level set to maximum)
Input Impedance: Mic input: 6.8 k ohms, Line input: 100 k-ohm
Maximum Output Level (adjustable): 9 dBu (output volume set to maximum)
Recommended Load Impedance: 32 ohms
Frequency Response: 20 Hz–20 kHz (+/- 2dBu)
Residual Noise Level: (input level set to maximum/output volume set to maximum) -84dBu
Signal Processing: AD/DA conversion 24 bit / 44.1 kHz
Power Supply: AC adaptor (included) or Battery Rechargeable Ni-MH AA x 2 or Alkaline AA x 2. R-1 has no charge function.
Battery life: Playback: approximate 6 hours, Recording: approximate 2.5 hours
USB: USB 2.0 Storage device (WindowsXP/2000/Me, MacOS9.2 or MacOS X, OS standard driver)
Display: 20 x 2 character display
Accessories: CF Card 64 MB, AC Adaptor Roland PSB-6U type, Carrying Case, Owner’s manual
Dimensions: 99.25 (W) x 134 (D) x 30.2 (H) mm / 3-15/16 (W) x 5-5/16 (D) x 1-3/16 (H) inches
Options: Headphones Roland RH-200/RH-50

The USB Phono Plus is a USB audio interface with a standalone Phono preamplifier. This looks really useful for plugging your turntable into your computer, and since it’s also a regular audio interface it will have more general use too. I need one of these so I can finally do something digital with my small but perfectly formed 12″ vinyl collection.

The press release from ART (Applied Research and Technology) says: The USB Phono Plus, (Formerly named the “USB Micro•PRE”) acts as an interface between your computer and a wide variety of analog and digital sources. The analog inputs are switchable between Phono and Line level signals and a low cut filter removes rumble and wind noise while leaving the audio pristine. The front gain trim control and signal/clip LED allow you to optimize the A/D for a wide range of input sources. The front panel USB monitor/headphone jack and the optical output on the rear panel can monitor audio output from your computer. The built-in low noise Phono preamp circuit is highly accurate and precisely conforms to the RIAA standard. The Line Output jacks are always connected to the input preamps signal for source monitoring.

Housed in an all aluminum black anodized case, the USB Phono Plus can be powered by either an external power source or directly off the USB port so remote recording is a snap. Optical TOSLINK inputs and outputs as well as S/PDIF inputs let you use the USB Phono Plus as a digital audio to USB interface as well. The USB Phono Plus is fully compliant with the USB 1.1 specification and uses USB adaptive mode for playback and USB asynchronous mode for record. It will work with the USB audio device drivers built into Windows 98SE/ME/2000/XP or Macs with native USB support OS9.1 or greater or OSX. No special drivers are needed.

Upgrade your portable or desktop audio interface in one quick and easy step. The MSRP on the USB Phono Plus is $119.00 and will be available at music specialty stores Worldwide in August 2005.

Sometimes you hear (or write) a piece of music and think, “it’s good, but it just seems to lack a certain something.” Well, finally there is a clever piece of audio engineering that can add that “certain something” to your music!

Rane Corporation, ever the innovaters, have created the PI 14 Pseudoacoustic Infector. This revolutionary sonic enhancement product is just the thing to add zip, vim and vigour to any recording project.

Have you ever wanted to add just a bit of this or a tad of that to your sound? Have you ever wondered what was available to allow it? So have we. The PI 14 gives you the ability to add bits of this and dashes of that, with continuously variable breadth and depth. How much would you pay for this flexibility? But wait. Before you answer that, there’s also the ability to pan from here to there and if you lose your way, there’s a switch to get you back again.

Unfortunately, this marvellous device is currently unavailable due to a parts shortage (perhaps this is related to another of its innovations, the anti-vibration all-concrete chassis). Whenever the PI 14 Pseudoacoustic Infector starts rolling off the production lines, it will be a must-have for every studio. We eagerly await a VST plug-in version.

Pocket Lint gave quite a positive review to the StikAx. However, this was mostly because they liked the TrakAx software that comes with it — they thought the controller itself didn’t really add much to the package.

They write: “As it goes, this is a nicely bundled package and an interesting stance on editing. The capture of existing images and the editing isn’t reliant on the device- it’s merely the catalyst for making the process more exciting, tactile and accessible. With 450 samples of a broad range of dance music, licensed software and a plug and play device, this is well priced at 89.99, if this sort of thing tickles your fancy. Remember though, Grandmaster Flash started on old, home made kit and there are many Rebirth style edit suites available out there in freeware land. If you are thinking of mixing images, you probably got something as competent thrown in with your camcorder. All the same, it made my Sunday more ‘urban’. Needs more time to get to grips with, but I wouldn’t say no to another go.”

They give the list price as 90 UK pounds, but I believe the actual retail price is 50.

“Mixing decent tunes with this is about as easy as mixing cement with a toothpick.”

T3 Magazine has reviewed the Ministry of Sound StikAx. Many people like the StikAx for its innovative styling and emphasis on simplicity. But not T3. They basically think it’s a piece of junk. They don’t like the hardware quality, the design, the software or even the samples, which they think are 15 years out of date. The end of the review sums it up: “It all adds up to a very disappointing experience.”

The Ministry of Sound StikAx is a handheld controller for live mixing of music and video. The concept is similar to the music mixing games available for various game consoles, except that it looks like a retro sci-fi ray gun. It’s obviously not a serious musician’s tool, but would be fun to have lying around. It might even be useful for musical brainstorming

The publicity on the StikAx web site says: “The Ministry of Sound StikAx is a fun, easy-to-use, real-time music mixer that you hold in your hand.

With the StikAx, you can take any music or video content, simply assign it to buttons on the StikAx and mix your music and video on the fly; be it a remix of the latest hit or your own unique creation, allowing you the freedom to experiment and also the freedom to use your intuition as to how it should sound or look. All your creations are recorded event by event, so if you create something great, it’s saved for you. You can then re-edit the piece using professional effects and settings – it’s all provided. Now you’re ready to share your creations with your friends, family or even impress a record boss! – it’s a studio in your hands.

The software can support multiple StikAxs; friends can mix together; Dad can create the home movie while Jimmy creates the accompanying soundtrack; or two burgeoning DJs can create remixes together without arguing whose turn it is next on the computer keyboard. Music and video should be entertaining, creative and interactive – with the StikAx it finally is.

The StikAx is an USB plug-and-play device, simply hook it up to your PC and you are mixing. It bypasses the need for expensive and complicated midi hardware and software and the associated learning curve that goes with the midi protocol.

At its basic level, the StikAx is a fun, easy-to-use, interactive multimedia experience. As the user progresses with the StikAx, they are able to create unique music and video content and interact with that content in real-time for an increasingly intense experience in entertainment and creativity. It is not limited to any audio-visual genre and is equally appealing to fans of dance to jazz, from classical to hip hop. With virtually unlimited sources of audio and video input, the StikAx is the most affordable and comprehensive real-time multimedia production offering available.

The buttons and LED light beam on the StikAx are used as triggering devices to mix any combination of music, video and special effects that the user selects. The StikAx in combination with the TrakAx software provides real-time interaction, that is captured by the software and presented in the Mixing Palate for saving, editing or remixing.”