Podcasting Gear Update: The Alesis ProTrack
January 31, 2009 by James Lewin
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Alesis Product Specialist Rob Bachi gives an overview of the Alesis ProTrack at the 2009 NAMM Show.
The Alesis ProTrack is a $200 gadget turns your iPod into a digital audio recorder. You can record 16-bit, 44.1kHz or 22kHz stereo digital audio without connecting any additional equipment, using ProTrack’s onboard pair of cardioid condenser microphones.
The on-board mics are fixed in XY configuration for stereo imaging. ProTrack also has a pair of combo XLR-1/4″ inputs enabling you to connect condenser and dynamic microphones and mixer outputs. ProTrack can also supply 48V phantom power to its inputs for operation with external condenser microphones.
Details below.
Alesis ProTrack Features:
- Combo XLR-1/4″ inputs for connecting mics, mixers, and more
- Stereo 1/8″ headphone output
- 48V phantom power for use with external condenser mics
- Records 16-bit, 44.1kHz or 22kHz stereo digital audio
- Onboard stereo condenser microphones for detailed pickup
- Built-in mics in XY configuration for accurate stereo image
- Switchable limiter
- AC/DC operation on 4 AAA batteries or AC adapter (included)
- Threaded mounting point for tabletop and floor-stand applications
Specifications:
ANALOG INPUTS
- Two combination XLR-1/4″
GAIN
- Internal Mic Inputs: +6dB to 49.3dB
- External Inputs (XLR): +6dB to 49.3dB
- External Inputs (1/4″): -11.3dB to +32dB
THD+N
- 2nd & 3rd Gen. iPod nano: 0.01% @ 92dB SNR A-weighted (charge off, min. gain)
- 5th Gen. iPod / iPod Classic: 0.014% @ 88dB SNR A-weighted (charge off, min. gain)
DIGITAL CIRCUITRY
- Bit Depth: 16-bit
- Sample Rates: 44.1kHz (high); 22.05kHz (low)
MAIN OUTPUTS
- Max Level: +0.3dBu Maximum
- THD+N: < 0.01% @ 1kHz
HEADPHONE OUTPUTS
- Max Level: 75Ω output impedance, 40mW into 32Ω
BATTERY LIFE
- Without phantom power: > 3 hours
- Using phantom power: > 2 hours
EXTERNAL BATTERY PACK REQUIREMENTS
- 6V DC 1A
- 2mm diameter (center pin); 5.5mm outside diameter
- Wired as center positive
WEIGHT (ProTrack only, without batteries or iPod)
- 8 oz. (226.8 g)
DIMENSIONS (ProTrack only)
- 7.25″ (184.15 mm)
Podcasting Gear Update: The Alesis USB Recording Kit
January 31, 2009 by James Lewin
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At the 2009 NAMM Show, Alesis introduced their USB Recording Kit - a kit that puts together Alesis mics, monitors and an audio interface to make a relatively cheap (approx. $260) project recording studio.
The video above is Alesis’ intro video from the show.
Details on the Alesis USB Recording Kit below.
Key Features For The Alesis USB Recording Kit:
- Matched pair of AM2 cardioid condenser microphones capture excellent detail
- Interface has two XLR-1/4” inputs with TRS inserts for comprehensive connectivity
- Compact, portable studio monitors
- 24-bit/48kHz analog-to-digital conversion
- Headphone outputs on iO|2 and M1Active 320 USB
- Easy-to-learn recording software
- Stereo mic mount and stand included.
Specifications:
- Inputs: XLR - 1/4″ combo, TRS inserts
- Outputs: XLR - 14″ combo, stereo headphone
- USB class compliant
- ADC: 24-bit, 44.1/48 kHz
- DAC: 16-bit, 44.1/48 kHz
Minimum System Requirements
- Mac: OS 8
- PC: Windows XP (32-bit) or Vista (32-bit)
- Two USB ports
Podcasting Gear Update: The Tascam DP-004 Digital Pocketstudio
January 30, 2009 by James Lewin
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Podcasting gear update:
Tascam’s Johnny DeLeon gives an overview of the TASCAM DP-004 Digital Pocketstudio at the 2009 NAMM Show.
TASCAM’s DP-004 Digital Pocketstudio is a portable digital audio recorder that can record two sources at once to the included 1GB SD Card. It retails for about $200.
Details below.
Description:
A built-in stereo condenser microphone makes it simple to record audio anywhere. The Pocketstudio also has a pair of 1/4″ jacks on the rear panel allow for connecting your own microphones or sources. Inputs can be switched to “guitar level” for recording instruments.
The DP-004 accommodates adding to your recording arrangement until you’ve filled up all four tracks. The Bounce feature allows the user to consolidate tracks and make room for more overdub layers. Also available is an Autopunch feature for fixing problems, track editing and an undo function.
Mixing is also built into the Digital Pocketstudio. Once you set levels and pan, the user can record the mix onto a dedicated stereo master track. The Pocketstudio transfers tracks and mixes to the user’s computer over USB 2.
Specifications:
- Connections:
- Two 1/4″ unbalanced mic/line inputs
- Switchable guitar input
- Headphone/Line output
- USB 2.0 connector
- Recording:
- Four-track digital multitrack recording
- CD-quality 44.1kHz/16-bit WAV recording
- Records to SD Card media (1GB card included)
- Autopunch, repeat and record undo
- Dedicated stereo mixdown track
- Physical:
- Powered through AA Batteries or optional PS-P520 power adapter
- Battery life: About 8 hours recording, about 8.5 hours playback (alkaline batteries)
- Dimensions: 6.1″ W x 1.3″ H x 4.2″ D (155mm W x 33.5mm H x 107mm D)
- Weight: 2.8 oz (360 g, w/o batteries)
New Remix Workstation Designed For Windows Audio, Video Production
January 30, 2009 by James Lewin
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Maingear Computers has announced the availability of a new PC targeting Photoshop, graphic design, video production, pro audio creators, the Remix Workstation.
Starting at $2,000, the Remix Workstation features high-end audio and graphics features, liquid cooling and sound insulation to minimize noise.
Description:
The system is designed to maximize a number of visually intensive functions, including:
- Bringing fluidity to image navigation. The Remix enables real-time image rotation, zooming, and panning. Also, on-screen compositing of both 2D and 3D content, ensuring smoothly anti-aliased results regardless of zoom level. Brush resizing and brushstroke preview, 3D movement, high-dynamic-range tone mapping, and color conversion are also accelerated.
- Accelerate a variety of creative effects. Effects accelerated include depth of field, bilateral blur effects, turbulent noise such as flowing water or waving flags, and cartoon effects. The Remix with the Quadro CX takes advantages of these workflow enhancements.
- Accelerate high-quality video effects such as motion, opacity, color, and image distortion. The Remix also enables faster editing of multiple high-definition video streams and graphic overlays and provides a variety of video output choices for high-quality preview, including DisplayPort, component TV, or uncompressed 10-bit or 12-bit SDI.
Audio Editing Features – MAINGEAR Remix’s sound insulation is designed for audio editing in the studio. Remix also offers M-Audio audio interfaces designed to handle the needs of project and professional studios.
Other Features:
- Studio quality sound insulation – Advanced insulation materials keeps the noise in and dense mesh air filters keep the dust out
- Powerful components - Latest technology from NVIDIA, Intel, M-Audio
- Advanced Liquid Cooling – MAINGEAR partnered with CoolIt Systems to equip the Remix with advanced Liquid Cooling
The base price for Remix is $1,999.99 ($3,999.99 with NVIDIA Quadro CX) and is available in Black, Silver, Electric Blue, Inferno Red, Alpine White, and Speed Yellow.
Twitter, Blogosphere Destroyer
January 30, 2009 by Barry Welford
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Is Twitter Killing Blogs and Blogging? was the question posed by Mark Evans.
My sense is Twitter is emerging as a vibrant alternative to bloggers and blog readers. Some bloggers who may find the grind of writing daily are now able to share their thoughts in quick bursts on Twitter, and still feel like they are contributing and cultivating their digital brands.
Company Blogs Most Valued Social Media Tool
January 30, 2009 by Mike Sachoff
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Among all the social media tools that are available to companies, blogs top the list when it comes to lead generation according to a new survey from HubSpot.
The survey "The State of Inbound Marketing" asked 167 executives and business owners about their marketing strategies.
Digital Music Discoveries at NAMM 2009
Once again, America's biggest musical instrument trade show was an amazing mix of futuristic technology, fabulous performances, and freaky products. Here are some of my favorites, starting with portable audio recorders.January 30, 2009 by Michael W. Dean
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Stephen Fry and ‘The Fry Standards’ For Twitter
January 30, 2009 by Elisabeth Lewin
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Actor and author Stephen Fry has a blog post today about his experience with Twitter. After a recent interview on BBC TV, during which he discussed the microblogging application, the number of Fry’s Twitter Followers surged past 80,000.
Fry sings the praises of Twitter, and its ability to showcase the best things about human interaction: “I love how Twitter confirms …that most humans are kind, curious, knowledgeable, tolerant and funny. The absurd constraints of the 140 character tweet seem oddly to bring out the best in wit, insight and observation.”
As one might expect, though, trying to keep up with your 88,260 followers, and also your 32,000-and-some people you follow, can be a little daunting, says Fry.
So he offers a set of guidelines, which may be helpful not just to the Uber-Followed, but also to schmoes like us, with a paltry thousand followers and followees.
“There are just one or two suggestions I would offer to make life easier,” Fry says. “By no means are these house rules or commandments, the spirit of Twitter should reflect the spirit of the internet which has always been – to some of us at least, one of openness and freedom.”
Fry’s suggestions, dubbed ‘The Fry Standards‘ by one of the post’s adoring commenters, and framed by Fry as “[n]ot a manifesto or rulebook, but perhaps useful, especially to new followers” are these:
1. If you are mystified by a reference, it’s best not immediately to post a “WTF?” “Please explain” tweet, but rather to look back along the timeline (http://twitter.com/stephenfry) or even to use good old Google or your search engine of choice to chase down the reference….
2. I am afraid I cannot respond to any professional/speaking/interview/public appearance requests through Twitter. I would ask you to go through the usual channels if there are any enquiries you want to make. <snip> It’s important to me that Twitter is a friendly, sociable entity <snip>where business and PR are excluded.
3. <snip>….I am absolutely not looking to use Twitter as a market stall. I will mention but not push new ‘products’, just as most Twitterers do and just as we all do when we announce any posting to our websites or blog spaces. For me Twittering is not a commercial or PR activity, it’s a fun and fascinating way to interact with all kinds of people who have so much to say. Since the primary function of Twitter is to answer the question “what you are doing?” my tweets will sometimes, obviously, involve news of publications or openings or events. Just be assured I am not using Twitter to advertise!
4. Please don’t be offended if you Tweet or DM me with a direct question and hear nothing back: as you can imagine it is very easy for me to miss the traffic of tweets. Incidentally, while I like to be DM-ed, public tweeting and replies are the default and preferred way to use the service: save DMs for genuinely private or personal messages. Although I will often myself respond to a public tweet with a private DM, you can choose to reply through either channel.
5. I like to follow as much as be followed, but I am afraid the numbers are getting so high that it is almost impossible to follow each of you individually. <snip> If you ask me and I catch you asking and I am using a Twitter app that allows me to (or a web browser) then I will probably consent and follow you, but don’t be offended if your request passes me by.
On first glance, one could read these “suggestions” as “I’m-Too-Famous-To-Talk-To-You” guidelines. But thinking a little more about it, I’ve changed my mind.
‘The Fry Standards’ (cracks me up to say that, like it’s an established policy, like the Monroe Doctrine or Glasnost or something)…. The Fry Standards are a nice articulation of how many of us Twitter users look at interactions with our followers, and with people we follow.
If you were going to explain how someone’s Twitter experience might be improved, or advise a new user how to get the most out of the application, what Twitter “guidelines” would you spell out?
Corporate Social Media Heads on ‘Tactical Transparency’ Show
January 29, 2009 by Elisabeth Lewin
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John Havens, Director of Partnership Marketing & Integration at Blog Talk Radio, has an interesting lineup for his “Tactical Transparency” show, Friday, January 30. He’ll be talking about “Transparency in Social Media,” plus the specific return-on-investment of his guests’ on- and offline marketing and community work.
Havens’ guests this episode are John Andrews, New/Emerging Media at Wal-Mart; Scott Monty, new media at the Ford Motor Company; and Maggie Fox, CEO of Social Media Group.
In talking with him Wednesday, Havens told me that he’s especially interested in what Wal-Mart is doing with their 11 Moms program, and the social media endeavors Monty is doing with Ford.
In addition, Havens says, “I’m very interested in what drives social media at large brands:
- Do brands think social media campaigns are a must or no?
- What social media applications/campaigns will branded spend money on and how do they justify ROI?
- How are they working to be transparent and authentic to really engage customers and employees?”Havens is also the author (with Shel Holz) of the book “Tactical Transparency.”
The live show is Friday, January 30th at 4PM Eastern. You can listen here or call in (347) 215-8467 to listen by telephone or ask questions of the panelists.
OpenFilm Rewarding Indie Filmmakers With $500
January 29, 2009 by Elisabeth Lewin
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Video sharing site Openfilm has announced that it will recognize top filmmakers with a $500 reward every month. Openfilm is an online community of independent filmmakers, film schools, festivals and audiences, which launched in July 2008. Ten winners are selected every month, based on various criteria including technical execution, the quality of narrative and acting, the overall popularity and audience feedback.
“Whether [filmmakers] submit their content directly to us or we receive it from one of our film festival or film school partners, we understand the time, effort and passion that went into creating the work. This monthly award is our way of thanking them for their contribution to Openfilm and to support their craft,” said Alan Melikdjanian, Openfilm Co-Founder and Chief Creative Officer. “As a filmmaker myself, I know the money will come in handy!”
The prize program is a precursor to the launch of Openfilm’s ad-revenue-sharing program for content providers.
For more information, visit the Openfilm website or email to info [at] openfilm [dot} com.
