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It’s time to make formal reference to a new component that I believe will warrant serious consideration for those who are in the market for a high end voice processor. I have been monitoring this device since its introduction, and I believe availability is now imminent. The company is Vorsis, and the device is the M-1 Microphone Processor.

First, a bit of history: Vorsis is a subdivision of the Wheatstone Corporation. Along with the Vorsis product line, Wheatstone distributes the Audioarts line of radio/television consoles, control surfaces, and networked audio systems/routers.

Besides the typical support for a single mic connection with preamp and phantom power, the M-1 offers unique features that make it special. For example: the device is designed for on-air production. A preset storage system simplifies accessing, saving, and comparing multiple configurations. In addition to front panel control, the processor supports TCP/IP remote control management, and with an optional PC GUI, an entire group of M-1’s can be controlled remotely.

Processing stages include: compression, gating, de-essing, expansion, limiting, and parametric equalization. The EQ supports tunable filtering [including notch, high-pass/low-pass]. The Metering System monitors I/O, de-essing, compression, and expansion. The M-1 comes loaded with factory presets, and it supports 44.1, 48, and 96 kHz sample rates.

I think the M-1 has the potential to become a major player. I have a price quote, however I cannot confirm it at this particular point in time. If everything checks out, this device will be very affordable.

I will continue to share information as it becomes available …

I posted some preliminary information in August of last year in reference to the new Fostex FR-2LE CF Recorder. After a long delay, this portable device is finally available - with a hitch. It looks like the street price has been increased by $100 to $599.

In any event, I must say that it looks ultra-cool. Have a look at this 300dpi Hi-Res. image. Of course the magic question is - how are the pre’s? I guess we will soon find out . Product Brochure and Owners Manual.

Features:

• Recording on Type II CompactFlash card

• Light weight, yet tough with a highly rigid chassis

• FAT32 file system & BWF Stereo file format

• MP3 recording/playback

• Up to 24 bit 96kHz audio performance

• 2 phantom powered XLR mic inputs with precise recording level adjustment control

• ALC (Off/On/Limiter) and HPF (On/Off, 100Hz -12dB/Oct)

• Built-in stereo microphones for quick memo recording

• USB 2.0 for high speed file transfer to PC

• 2 second Pre Record buffer

• 1 take = 1 file system (eliminates overwrites)

• Approx. 8 hours battery operation

• Wired remote controller with mic attachment belt

A few weeks ago Sony announced Sound Forge 9. This application is a professional PC based audio production tool. I archived the URL that included the press release of this announcement, and just today - I finally read into the specifications. Much to my surprise, I noticed Sony has incorporated a proprietary version of iZotope Ozone in Sound Forge. In fact, this is the second PC based pro audio tool that incorporates a special version of Ozone. Adobe Audition 2.0 was first in line.

Unfortunately I cannot offer any first hand experience, feedback, or insight on Sound Forge due to my lack of access to the PC platform. However, it is no secret that I have been a long time user and supporter of iZotope Ozone. I can’t imagine functioning efficiently on a daily basis without it. As I have previously stated, in my honest opinion there is nothing else out there that rivals Ozone considering it’s vast array of options, quality processing, and it’s sub $200 cost.

I’ll share a tip with you. For GigaVox and The Conversations Network post workflow’s, we use a proprietary dual function audio processor, referred to as the Uploader. Since our system is based on a component supported platform, each individual file that is destined for a specific program must share the same exact loudness measurement in order to maintain consistency during show assembly in preparation for final distribution.

The Uploader performs RMS Normalization, and the resulting output file[s] share the exact same loudness measurement based on our own internal specification. Finally, the processed file is automatically sent up to our server via ftp and prepared for distribution.

Many of our internal source files that need to be edited and prepared for the Uploader lack sufficient levels that would support a comfortable editing environment. Low levels may be due to issues that were apparent during the actual recording process. Since our Uploader handles normalization, any form of similar loudness processing is not recommended.

The Loudness Maximizer module that is part of the Ozone arsenal solves this problem. I pull down the threshold setting, set a ceiling, and play the files that I am editing through the processor in real time. Ozone is running on an insert within Bias Peak Pro 5 XT in most cases, and since I am not bouncing the file through the processor - there are no destructive changes made to the original source files. It works really well.

Anyway, it’s great to see Ozone bundled with big time pro audio applications like Sound Forge and Audition. In fact, iZotope’s MBIT+™ Dithering Algorithm has solidified itself as a premiere technology. Software developers pay iZotope a licensing fee for proprietary implementation.

If you have not looked into this software processor, I suggest you head over to the site and enter the Ozone ..