PRODUCTS
AT4060a tube mic back
AUDIO-TECHNICA HAS reacted to
market demand and reintroduced
its popular AT4060a tube-powered
cardioid condenser mic, describing
it as a ‘modern classic’. The mic was
originally released in the late 1990s,
quickly becoming a popular option
for recording vocals and guitars.
The new version adds a redesigned
power supply in the shape of the
AT8560, promising improved
performance and lower noise.
PROVING THAT it is still very much
focused on reverb development,
TC Electronic has debuted Reverb
8, a multichannel reverb described
as ‘bringing world-class room
simulation to new 3D sound
formats’.
Only compatible with the System
6000 MKII mainframe, Reverb 8’s
key appeal is the fact that it can
be fed with any input signal (from
mono to 7.1 and up), and deliver an
in nite number of output channels,
making it perfectly suited to current
surround sound formats such as
Dolby Atmos (62.2), Barco Auro
(11.1) and NHK’s multichannel
broadcast format Super Hi-Vision
(22.2 surround).
Additionally, a single System 6000
MKII frame is capable of running
two Reverb 8 instances, thereby
delivering 16 channels, while
multiple System 6000 MKII frames
can be linked in a network to deliver
virtually any channel-count. The
exibility of the algorithm has led
Thomas Lund, TC’s chief technology
of cer for broadcast and production,
According to the manufacturer,
the microphone’s return comes in
reaction to demand from retailers
and end-users alike, while its
performance remains true to the
original. Its design centres on twomicron-thick, vapour-deposited gold
diaphragms treated with a ve-step
aging process, and a hand-selected
and aged Sovtek 6922 tube.
Its speci cations include a
frequency response of 20Hz to
20kHz, a sensitivity of -34dB, an
impedance of 200-ohms, a noise
level of 19dB SPL and a dynamic
range of 131dB at 1kHz.
The microphone ships with the
AT8560 power supply (including rack
mount adaptors), an AT8447 shock
mount, a 10m cable with 6-pin XLRtype connectors and a carrying case.
Audio-Technica’s AT4060a is
back by popular demand
Shipping: Now
Web: www.audio-technica.com
The aged Sovtek 6922 tube
as used in the AT4060a
if the decay time is changed from
2s to 10s for all channels at an
instant, the algorithm is capable of
protecting the balance of a mix so
there is no need to counter-adjust a
multitude of other parameters.
Finally, the algorithm has been
made downmix compatible to
altering the balance of a mix’.
In recognition of Reverb 8’s
particular application within
surround sound postproduction,
the new algorithm was recently
bundled with TC’s Film 6000 version
of the System 6000 MKII. However,
it can be purchased as a separate
The main page in Reverb 8
to describe Reverb 8 as ‘the in nite
“Lego brick” reverb’ that the
company has long sought after.
Further bene ts of the potentially
huge channel count include
conveying space in a more realistic
manner, with the manufacturer
promising to add ‘whole new colours
to the mixing-palette’ including ‘the
ability to add wild and imaginative
The TASCAM UH-7000 audio interface
AIMED AT home studios but
promising studio-quality recording,
the UH-7000 USB 4x4-channel
audio interface and mic preamp
has been introduced by TASCAM as
‘bridging the gap’ between the two
markets.
by popular demand
The manufacturer is pointing
to its new High De nition
Instrumentation Architecture
(HDIA) microphone preamps
as part of the reason why. The
preamps reportedly feature a fullybalanced signal path from input
74 PRO AUDIO ASIA July–August 2014
spaces to even a mono source;
where reverb on reverb is no longer
an obstacle’.
Crucially, TC has also developed
a user interface named the Grid
which is intended to help users get
to grips with the power of Reverb
8 ‘quicker, better and over a wider
range than before’. Much of the
process is automated, meaning that
to output, an ‘instrumentation
ampli er architecture’, and offer a
-128dBU noise oor, 117dB signalto-noise ratio and 0.0009 per cent
THD rating.
Also onboard the interface
are dual-sided Burr-Brown
PCM4220 A/D converters working
at 192kHz/24-bit resolution,
a temperature-compensated
internal clock offering 1PPM
resolution, Burr Brown PCM1795
D/A converters, and an extralarge, heavy duty power supply.
Physically, the interface is
housed in an aluminium case
with a brushed front fascia and
20-segment LED peak meters. In
terms of I/O, the unit boasts two
balanced XLR inputs with +48V
phantom power, two balanced
¼-inch inputs, two balanced XLR
outputs, and AES/EBU digital out.
The Reverb 8 algorithm is only available on the System 6000 MKII family
contend with how the dry/wet
balance of a mix can sometimes
change across format conversion.
According to the manufacturer, a
user can move from a 32-channel
rendering to mono ‘without
introducing phasing artefacts or
licence for any System 6000 MKII
variant, including the Music 6000,
Broadcast 6000 and Mastering
6000.
Targeted squarely at professional
users, meanwhile, is TASCAM’s new
three-strong range of rack-mount
clock generators, each of which
is intended to address a speci c
market. All three models are
equipped with an internal clock
Oven Controlled Xtal Oscillator
(OCXO), and reportedly offer a
much more accurate clock system
when using a rubidium clock or GPS
10MHz clock.
Leading the three is the CG-1000,
a master clock generator designed
for recording studios and boasting
external input support up to 10MHz.
The CG-1800 is a video sync/master
clock generator for postproduction
supporting NTSC, PAL, HD Tri-level
for video, word, AES 3/11 and S/
PDIF for audio. Finally the CG2000 is a video sync/master clock
generator designed for broadcasting
and postproduction applications.
The unit is descri bed as improving
redundancy for both the power
supply and video/audio clock.
The CG-2000 from TASCAM
Shipping: Now
Web: www.tcelectronic.com
Shipping: Now
Web: www.tascam.com