Kvr: Non-lethal Applications Updates Video Slave To V3.2 For Mac

Video Slave 2. Use Video Slave 2 to play movie clips in sync with Pro Tools, Cubase, Nuendo, Logic Pro X, Studio One and many other popular DAWs. Video Slave 2 uses MIDI Timecode - a protocol supported by most Digital Audio Workstations on the market today - to drive synchronized movie playback as well as MIDI Machine Control. The Shuswap School Board has submitted an application to the Ministry of. 2) with an excellent background of the view down Okanagan Lake from the Head of. Body upgrade the designated area from 'A Goose Management Area and No. Local productions would be seen in color.and video tape was on the horizon.

• Kvr: Non-lethal Applications Updates Video Slave To V3.2 For Mac Free

Take advantage of all the new features in Sequoia 9.1 / Samplitude 9.1: New function 'Transfer cuts': (Sequoia only): With this you can make cuts in selected tracks and then transfer them onto other tracks of your project. This way, a rough cut can be clearly executed on a track before being applied to all target tracks of the multi-track project. Here there are a number of different search algorithms ordered according to file name from which you can choose. Optimization of internal Sequoia video integration as well as master/slave synchronization (Sequoia only) The Hybrid Engine now supports up to 4 CPUs / cores for audio processing. Furthermore with 'Hardware Monitoring / Hybrid Engine' you can use a new monitoring mode.

Here, like in 'Hardware Monitoring' mode, input signals are not routed through the program, but through 'Asio Direct Monitoring (ADM)' depending on the hardware. The Hybrid Engine, however, controls playback. The 'Performance' dialog is also new to the system options. The options listed in it serve to set up your system processor optimally. Here you'll also find ASIO Silence Economy, which switches off empty or silent tracks in ASIO. In the visualization area there are a number of new presets for the K Metering System. The presets supplied use the new options in order to implement metering according to K-12, K-14 and K-20 norms.

Uniform reference volumes on different media can be achieved especially when mastering under normed listening conditions. The peakhold display continues to show signal peaks and serves to avoid clipping. Using the Waveform Generator you can now create additional Brownian Noise (1/f² noise) and Pink Noise (1/f noise). Here uncorrelated stereo noise is created.

FreeDB acquires information on CD track names and artists. in the CD import dialog you can request information about the desired CD. in the CD burning dialog and in the CD/DVD menu you can carry out a search on the basis of the set track markers. in the Arranger an inverse search is also possible with 'Online CD Search'. Here you can set track markers automatically for known albums.

Advanced solo and monitoring functions (only for Mixer FX Monitoring /Hybrid Engine) From now on you can use a solo bus with AFL and PFL routing as well as a unique volume control function in the master section of the standard mixer. If you have not selected any solo output, but instead pressed 'Solo bus inactive/Solo in Place', the Monitor fader changes the audible master level. The internal level for bouncing and burning, however, remains unchanged. The function 'Global: Solo exclusive', which switches the solo behavior of all channels to 'Solo exclusive' is also new. In this mode you can switch a single track to 'solo' by clicking on the 'Solo' button on a specific channel. Here 'Solo' mode is deactivated for all other tracks. Integration of external effects or synthesizers (just for 'Mixer FX Monitoring/Hybrid Engine') via the new dialog 'Project Options - External effects'.

There is a new global function that can be used to assign inputs and outputs for external effect devices or synthesizers. The latencies that appear are taken into account by latency compensation. You can also set up effect send and effect return tracks in the same dialog. Low Latency Automation. The volume and panorama curves are activated when writing volume and pan-automations, not when activating the automation button.

When creating a new curve, the range in front of the automation start remains at its old value. Updated MAGIX Plug-ins Suites Newly available:. 4 new models for Variverb. New buttons for the Vintage Effect Suite. Corvex in Complex Mode also usable as a reverb device.

Filtox with variable frequency filter types. 'Console' for all plug-ins with preset management and A/B comparison. All plug-ins now support the Silence Economy feature The new 'Inactive' state for VST instruments and VST effects Plug-ins can now be completely deactivated so that memory space can be freed up. When reactivating the plug-ins the last state is restored in its entirety. If you set VST plug-ins to 'Inactive' by pressing 'Shift+Alt+Click' in the plug-in slot of the corresponding track, these plug-ins are completely removed from RAM. This way, no more resources are used in conjunction with the hardware systems like 'PowerCore' or 'UAD'. VST MIDI Out + Audio Out Recording (just for Mixer FX Monitoring/Hybrid Engine) Click here for zoom view Now you can record VSTi audio outputs for VSTi return tracks by activating recording in these tracks as you would do normally.

'MIDI Out' can be activated for every track VST plug-in or VSTi in the Plug-in Panel menu. This causes MIDI data of the VSTi to be sent and recorded in another track. By activating the option 'VST MIDI Out recording' on a track you can record all received VSTi MIDI Out data in the corresponding track.

If MIDI Thru is activated, this signal can also be routed to another VSTi/VST-FX or external MIDI device. MIDI-Editor Multi-Object Editing (MO-Editing) Click here for zoom view With the MIDI Multi-Object Editing function all selected MIDI objects are activated by clicking on the 'MIDI Editor' button in the Arranger. In an already-opened MIDI Editor you can include additional MIDI objects by clicking on them while holding down the Shift key. In the MIDI Editor you can activate a display filter for the current track.

Data from other tracks are then grayed out or made invisible. Similarly, the visual display of the current object range is possible. The active object or the active track can also be selected via a selection menu. Score Editor: Each track can contain a maximum of 48 staves.

When Multi-Object editing over multiple tracks the score from the systems of each track are compiled together. The staves of a track can be used as an instrument or instrument group within a score. The entire score can be obtained by using the Multi-Object Editing feature and showing all MIDI tracks in the Score Editor simultaneously. A vocal excerpt can be obtained by showing the track of the desired instrument only or an instrument group in the Score Editor.

Score MusicXML Export. Now you can export your score as a MusicXML file as well so that it can then be further edited in stave editing applications.

Finale, Sibelius, Forte and many other MusicXML files can be imported. Converters are also available for transforming MusicXMLs into other formats. You can find out more at www.musicxml.org. During the MusicXML export, all properties of the score except for the page layout, like staves, notes and pauses, bar groups, keys, polyphonic voices, lead signs, enharmonic change, etc. Are transferred. Line breaks, the distance between systems and page formats are not transferred.

If you create your composition in Samplitude, you should set score settings here in order to be able to edit and navigate more easily through the score view. You can then continue editing the score in order to optimize the layout and notation in the familiar environment of your stave editing application.

Converting to MusicXML format has the advantage that, unlike with the standard MIDI file format, many manual settings and optimizations of the score, like the number of scores, key, voice allocation, pitch, etc., remain the same. Additional new MIDI features:. Quantization commands 'Quantize score start', 'Quantize note length', 'Quantize score start and note length'. Here you can quantize the notes of all selected MIDI objects whenever you like via the 'MIDI' menu 'Apply MIDI quantization/Reset MIDI quantization', without having to open the MIDI Editor. New filter functions for the MIDI Event List.

In the VSTi Manager you can now route individual outputs from software instruments directly to a specific track. When clicking on a single output, a track selection menu appears.

You can now freeze software instruments as well directly by using the VSTi Manager. Improved routing assistant for integrating VST instruments. Advanced drag & drop function for effects in the Mixer. DX/VST can now be copied between tracks and masters as well. DX/VST can be exchanged using drag & drop If all you want to do is move shift effects between the channels in the mixer instead of copying them, simply keep the Shift button pressed while dragging & dropping. Hardware Controller. Advanced HUI support (Display, Peak Meter).

Locator Display: milliseconds and samples. Faders are moved to the bottom once 'Close project' has been pressed System Options - Option management Click here for zoom view With the new system options management page you can reset toolbars, audio settings, visualization settings, and general settings. Here, the corresponding ini. Files are deleted/reset and the program restarts.

More outstanding features in Sequoia 9 / Samplitude 9: Video Engine (Sequoia only): The newly integrated video engine allows you to include individual video objects. Hybrid Audio Engine: A special combination of a new Low Latency Engine and the classic playback engine. Economy Track: You can setup a track as an Economy Track to save system resources. Advanced Dual CPU Support: Sequoia / Samplitude support multi-CPU/multi-core/HT PCs by distributing the load for various tasks to different CPUs.

Track Editor: Located at the left side of the arrangement window the Track Editor enables access to all important track parameters of the selected track. Mono Settings dialog: The Mono button in the Track Editor switches the track to mono (from Input to Panorama Controller). New Effect presets: The 'FX' button in the Track Editor and Mixer opens dialogs for specifying the order of the effects and adding VST/DirectX plug-ins. Score Editor: The Score Editor displays the score of a MIDI track in realtime.

Am-phibia: am-phibia is a tube amplifier/channel strip and belongs to the Analogue Modelling Suite of the MAGIX Plug-ins alongside the well-known am-track and am-pulse. VariVerb Pro: Reverb device that creates classic and modern, artifact-like reverb effects such as room, Click here for zoom view plate, spring an non-linear reverb. De-esser: With the de-esser you can conveniently and quickly remove the 'S' sounds from vocal recordings. VSTi Manager: In the VSTi Manager you can sort, manage, instance and delete VST instruments.

Sample Tank LE: Sample Tank 2.1 LE from IK Multimedia is included as an external VST instrument. Auto Jam Session: The Auto JamSession lets you create complete songs single-handedly.

Sound Cloner: With the Sound Cloner feature you can determine the sound characteristic of a song and transfer it to another one. Spectral Cleaning: Spectral Cleaning removes noise from a recording without Click here for zoom view audibly influencing the wanted signal. New surround characteristics: Surround DeHisser, surround vocoder, surround volume fader in the VIP scales all surround chanels, surround volume automation in the VIP, surround bounce interleaved now with wave format Extensible chunk: the surround visualization is opened in surround projects without stereo master (preset). Enhanced automation including AUX: In addition to the volume and panorama automation you can now also dynamically record the AUX input in the Mixer and Track Editor while the automation button is activated. Improvements and additions to the internal audio effects: UTR - 'Ultra Transparent Resampling': New resampling algorithm for considerably faster and even better linear-phase high-quality resampling, new timestretching/pitchshifting algorithm: 'Beatmarker Timestretching smoothened', non-modal FX dialogs, room simulator and multiband effects: Optimization for Low Latency use, integrated harmonizer for Elastic Audio, and much more. Advanced effects/VST support: Supports VST WaveShell including automation, object effect support: object delay/reverb effect, VST & DirectX plug-ins available within the object as pre/post, improved parameter resolution for VST automation, new options for creating 24-bit FX files for destructive effects.

More new features: Burning MP3 CDs, project export as an AAC file, record mode: new preset 'default mode (playback while recording', new tree structure for system and project options, advanced controller support. Audio ID: Music identification process provided by M2Any. Analyzes the music track and submits a search request to a web server. Sequoia draws upon years of co-operation with experienced producers and sound engineers to tackle every challenge faced by modern professional recording studios. Besides a wide array of proven recording and editing tools, Sequoia also offers new outstanding editing and crossfade functionality. It also includes intuitive source/destination cutting, excellent marker setup, and an efficient crossfade editor with which all crossfade parameters can be edited in real-time. Sequoia needs no special DSP or audio hardware and works natively on host CPUs.

The program can run on a laptop just as well as it does on a PC plugged into the studio. That means you can transfer your projects to mobile workstations - or anywhere else, for that matter.

You remain completely independent until the project is completed while enjoying those possibilities normally only offered by a fully equipped studio: multi-track recording, professional cutting, high-end effects (such as the real-time space simulator or sound restoration tools), a complete digital mixer, real-time CD burning functionality and much, much more. Price: Sequoia 9 USA (3000 $) International (2900 EUR) Samplitude 9 Professional USA (999 $) International (1029 EUR). New Version 3.5 - Top 10 Changes! - New ID3 tag / iTunes metadata editor. Chapters in AAC (.m4a) and Apple Lossless (also.m4a) formats supported.

Apple Lossless (.m4a), ADTS AAC (.aac), NeXT/Sun Audio (.au), and Ogg Vorbis (.ogg) file formats added. MP3 and AAC bit rate support improved. Split By Markers enhanced. Several improvements to filter settings, presets, and preview. Playback scrolling preferences added. Several enhancements in marker display, editing, and saving.

Several bug fixes in audio editing, filtering, resampling, playback, and saving. Several improvments in key shortcuts, AppleScript, VoiceOver, and Cowbell support. New features: - ID3 Tag / iTunes Metadata Editor. File information and metadata such as artist, album, artwork, lyrics, genre, year, track number, and composer can be read, edited, and saved with files. These tags are suppored in MP3, AAC (m4a), AIFF, AIFF-C, Core Audio Format, Sound Designer II, and Windows WAV file formats.

ID3 Versions 2.2 through 2.4 are supported, as well as iTunes metadata format used in m4a files. The 'Split by Markers' command has been updated so that it also generates ID3 tags and metadata. Chapters support in AAC (m4a) and Apple Lossless file formats.

Chapters are equivalent to markers. Better bit rate support. MP3 bit rates now support 8, 16, and 24 kbps. AAC bit rate options show all valid bit rates (which vary depending on the sample rate and number of channels). Handles additional standard AIFF chunks. AIFF chunk support for title ('NAME'), artist ('AUTH'), copyright ('(c) ') and comments ('ANNO').

Other chunks (COMT, INST, MIDI, and AESD) will be passed through when opening and saving AIFF and AIFF-C files. CAF Markers saved in and loaded from Core Audio Format. Additional file formats supported: Apple Lossless ('.m4a'), ADTS AAC ('.aac' audio data transport stream), NeXT/Sun Audio ('.au'), Ogg Vorbis ('.ogg') - Loop option for filter previews. Normalize to RMS (average power) filter setting added. Pitch and Tempo filter now has a 'Linked' option for old-school pitch control, where changing the pitch also changes the tempo. Also fixed a crashing bug with changing the pitch or tempo settings while the preview was playing.

Markers available in the 'Go To' and 'Set Selection' commands. Marker names and times are copied to the pasteboard during Cut and Copy, so that they can be copy-and-pasted from Sound Studio into a text editor. Markers can be deleted by deleting their name. AppleScript application property added that lets AppleScripts ask 'Is the app recording?'

- AppleScript support added for referencing individual tracks in a document, and for changing the pan (left-center-right) and volume of each track. BPM grid and a 'Tap for BPM' button that lets you determine the tempo by clicking in rhythm with the beat. Input Levels, when minimized, has a working levels meter for the dock icon.

Color preferences presets. More Cowbell. Optimizations and tweaks: - Filter presets now behave like normal preset files, so that changes are saved only when you tell it to save them. Marker name display and editing improved. Split By Markers now ignores dots ('.' It also defaults to saving to the Desktop, and remembers the last user selected folder. Canceling a filter or tone generator no longer inserts half-processed data into document.

Save progress sheet now shows localized text. Changed Markers floating window so that it recognizes key strokes for selecting markers in the list, deleting markers, and adding markers. Playback volume slider in the document window now stops at 0 dB (for one pixel).

'Return' key now moves cursor to the beginning of the file. Preference for playback scrolling added, to switch between old-style page-by-page automatic scrolling, and the new, continuous style. It can be enabled via user default 'edit.scrollWaveform.byPage'.

The minimum zoom level for all auto-scrolling can be set via 'edit.scrollWaveform.minimumZoomLevel'. Tweaked Auto Recording so that if start mode is set to levels, pressing OK in that dialog will automatically cause the document to go into record-pause mode, ready to start recording when the levels pick up. New and updated file icons. Updated in-application help book pages. Updated localizations (Danish, French, Italian, and Japanese available). VoiceOver enhancements.

Bug fixes: - Fixed a bug with editing audio. Fixed a bug where Resample would hang or crash. Fixed several memory leaks. Saving in AIFF-C IMA-4 format has been fixed. Fixed a bug in the Crop action where stereo files would become a two-track mono file.

Also changed Crop so that the window will scroll to the beginning. Fixed bug where Return/Enter key strokes were not being recognized in Filter dialog windows, and where VoiceOver reports the window is busy. Fixed several problems with using Audio Unit plug-in filters, including AUBandpass and AUPitch. Filter stuttering preview bug and buffer size bug fixed. Perfect for Podcasts With Sound Studio 3 you can record professional sounding Podcasts and other audio dialog. Positioned perfectly between more expensive programs with steep learning curves, and far less robust apps, Sound Studio 3 is for anyone who needs to record or edit audio. Some other possible applications include:.

Lectures. Voice-notes. Sermons.

Performances. and more! We at Freeverse have always found Sound Studio to be the perfect app for recording voiceovers, tweaking audio, or creating sound effects (monkey noises included of course). We've used it for years to create all the dialog and sound effects in our games, which is why we're so thrilled to be publishing this amazing new edition. Recording:. Multi-track support: layer stereo sounds and save in interleaved format.

Audio Unit plug-in effect support. Saves in MPEG-4 AAC (advanced audio coding) m4a format. Saves in MP3 when the LAME framework is installed. Automator support (launch Automator to see the bundled actions). Added 'New Mono Document' command for quickly creating a monophonic document.

24-bit / 96 kHz sample quality, in stereo or mono. Low latency monitoring, using Core Audio. Automatic recording starting and stopping based on timers or audio levels (a.k.a. VOX) Editing:.

Sample-accurate edits. Markers (a.k.a. New in v2.06. Faster Load Time.

Faster and improved Randomize. Fixed Delay 2 error. Fixed loading of presets error Dune delay is not your normal delay as well as having a standard tempo sync delay you have the Dune Delay which allows you to shape the delay by having control over the bounce volume and spacing, Dune Delay also features a reverb, chorus filter and gate effects so you can use it for other things if you want.

Theres also all the standard controls like bypass, mix, pan, volume and randomize buttons to make creating new delays fast and easy. Feature List. Control the delay volume and space. SVF filter. Tempo sync gate effect. Built in reverb settings. A second tempo sync delay.

A chorus effect. Standard controls such as Dry/Wet mix, pan and volume controls.

Randomize for controls and Dune Delay Volume and Space. Bypass/Power switches for all seperate sections to help save CPU. Output display and status bar for control values.

New GUI design. Future product updates Price: $9.99. Reaper is a music making app for multitrack recording and editing.

Changes: # Added 'Beat Slice.' Command to the sound event context menu. The dialog has settings for transient sensitivity and minimum crossfade time. The slice crossfade can be longer than the specified minimum if the transient has a slow attack.

Enabling the preview option will update the editor in realtime with changes to sensitivity and crossfade time. # Added a native editor for the zPitch plugin. The new editor has a band control that can be used to adjust the pitch in semitones. Holding shift when clicking the band will adjust the pitch in cents.

# Added a 'Mix' parameter to zPitch. Podium offers a unique hierarchic mixing engine that integrates audio recording, VST plugins and external MIDI and audio gear.

Configuration of plugins and external hardware are encapsulated in an object based project structure, which hides the technical complexities when you want to focus on musical inspiration. Advanced features includes 64-bit mixing, multiprocessor support, surround sound, integrated sound editor, preset librarian and spline curve automation of plugin, MIDI and mixer parameters. The number of supported devices, plugins, tracks, channels and mixer busses are practically unlimited. All this is presented in a stylish and customizable user interface. Development concentrates on quality and stability. Software updates are released frequently and are planned with the involvement of the user community.

All this for only 90US$. Read more about Podium. GURU combines the best characteristics of classic hardware drum-samplers into a unique, inspirational software instrument. Integrating into your sequencer as a VST/AU/RTAS/DXi plugin or operating as a ReWire or standalone device, GURU's powerful 128-step sequencer with flexible tempo multipliers and groove adjustment features an intuitive and addictive interface with which to quickly write inspiring percussive foundations for your tracks. The high-quality built-in effects and sample manipulation capabilities open new perspectives on your sounds.

GURU gives you the hands-on feel which you crave. Record performances with the mouse or a MIDI controller, fire off sequences with a MIDI key, drop parts in and out and switch grooves on the fly. GURU is a complete sample worksation environment, ideally suited to live use or for intuitive composition in the studio.

Your beatbox dream come true. Advanced step sequencing, groove manipulation, sample editing, and beat slicing - an inspirational, all-in-one workstation. Based on an enlightened approach to drum loop creation, GURU makes building that perfect beat faster and easier than ever. GURU's architecture is perfect for anything from straight-up breaks and stomping floor-fillers to complex polyrhythmic, multi-layered grooves. The powerful built-in FX and graphical parameter automation allow you to mutate your beats into new, unheard forms, or create subtle variations. Mash up your sounds with pitch modulation, repeat triggers, start-point and timing manipulation, resonant filters and much more. Everything from precision funk to disturbing sonic mangling and glitch beatscapes is at your fingertips.

Breathe new life into your loops with GURU's unique intelligent loop slicer, which categorizes slices as kick, snare, hihat or percussion hits, letting you use any audio material effortlessly and in the context of your pattern, or extract individual hits and the timing feel from loops. The extensive editing and processing tools then allow you to tweak samples and slice points, or layer more sounds. HIGHLIGHTS Advanced sample-based step sequencing, directly integrated into your audio/MIDI sequencing host 8 Engines, each with 16 sample pads, 24 patterns, 3 aux effects and an insert effect Pad Editor with comprehensive non-destructive sample editing tools SmartSlice: automated sample slicing, classification and pad mapping (kick, snare, hat, percussion) with manual slice-tuning capability Includes library of over 2GB of professional sample content, featuring material by Yellow Tools, Wizoo, Gearshift and others. Stand-alone application, ReWire device, and VST, DXi, AudioUnit, RTAS plug-in formats, available for Windows and MacOSX. From the homepage: B-station is a simple but powerfull bass plugin. It has 3 oscillators.

Every oscillator has a fine tune/octave/pw/volume and 5 different waveforms. A mod oscillator for Pulse width and for phase modulation. There 4 differnt filters types Lowpass/bandpass/hipass/and a 4pole the filter has an envelope ADSRLT 12 curves and a BPM lfo a modulation Envelope for the pitch and Pulse width A simple Vibrato bitcrusher drive low and hi boost a arp Velocity filter and volume on/off glide /Retigger and a master volume 32 preset i made and a extra bank made by sinkmusic. A new version of Bidule has been released. From the homepage: With the L3 Multimaximizer, Waves revolutionized the world of mastering. For the first time, producers and engineers could shape the contours of their final mixes with unprecedented precision.

Now, Waves is proud to present the L3-LL, a multiband peak limiter that lets you maximize your mix, track by track, instrument by instrument. Including the same versatile presets that made the L3 the favorite of engineers the world over, the L3-LL extends the capabilities of the L-Series by leaps and bounds. Plus, its low latency opens up a new world of multi-track possibilities, making it an indispensable tool for mixing and mastering engineers alike. The L3-LL’s PLMixer™ Peak Limiting Mixer technology, with minimum-phase crossover filters designed for low latency, maximizes your volume with breathtaking detail. When you need maximum sound with minimum latency and complete control, the choice is clear, loud and clear. Virtual E-Guitar + FX + AMP + Cabinet + FX From the homepage: Slayer 2 starts from where its predecessor left off.

In particular, the physical model of the guitar has been completely revamped, improving the quality of the simulation dramatically. Not only does Slayer 2 sound a whole lot better, it is also much more flexible.

For example: Up to 16 effects can now be used simultaneously; half of them before, and half of them after the amplifier. You can place any of the sixteen available stomp-box effects in any of the sixteen available effect slots. When you want to change the order of the effects, just drag'n'drop. Astonishingly authentic acoustic guitars can be created by altering the size and material used for the guitar-body. There are also new playing-aids - two new string-types, two new amplifiers and two new cabinets. The interface graphics have been revamped too.

Slayer 2 has a completely new, elegant and refreshing look. The whole look'n'feel makes it much easier and faster to use. Supplied as a bonus plug-in, a special treat is the effects-only version of Slayer 2.

With its own virtual amplifiers and effect pedals, you can even use Slayer 2 on your own guitar! Play your guitar live and Slayer 2 will mangle, smash and contort it to meet your needs.

Playing-aids for instant gratification Build-in AMP/Cabinet simulation Build-in Pre/Post AMP effects 128 ready-to-go presets included Very easy to use Price: 90 dollar. From the homepage: QuadraSID offers far more than a simple emulation of the SID chip. Enriched with many new functions e.g. An arpeggiator, four LFOs, wavetables and a eight fold oversampling, this software instrument offers unlimited sonic possibilities, and surprises even the most experienced SID professional by its flexibility. Each instance QuadraSID loaded emulates four SID chips at the same time - of course with four separate stereo outputs and controllable by MIDI-controllers. ReFX lets the legend live on: QuadraSID produces the timeless and immortal sound of the SID chip for the eternity!

Features: Four SID-chips emulated Filter, volume and pan per oscillator Arpeggiator per oscillator One wavetable per oscillator Four LFOs per oscillator Four envelopes per oscillator Eight combiners per oscillator 128 ready-to-use presets included Price: 60 dollar. From the homepage: The SynthStudio Pack II - Extra Tools is the perfect companion to SSP I because it brings you the addition of 6 Specialist Synthesizers, a Sequencer/Arpeggiator, a set of MIDI LFOs + ADSR Envelope, a Fixed Filter Bank/Graphic Eq, and a Ring Modulator with a Chorus. But most importantly, SSP II brings you new ways to be inspired and creative. If you are still learning how electronic music and synthesis works then SSP II offers you the chance to learn how to program an FM synth, the basics of Additive Synthesis, Wave Sequencing, Analog Sequencing and about several other advanced techniques. If you don't own (or intend to own) SSP I then never fear because SSP II offers so much from it's 10 units that it is tremendous value for money all on it own. Every synth and effect unit in your studio will benefit from the addition of Mod-u-Law and having the amazing power of Seq 28-116 to create fascinating sequences and arpeggios will ensure that you never suffer from writer's block and that's without considering the synths.

SSP II - Extra Tools builds on the tradition of SSP I and brings you another 10 units that cover specialist synths and samplers, midi lfos and envelopes, pattern sequencer and arpeggiator, and a couple of signal alterers all for the same amazingly low price so you can do more without breaking your budgets. Price: 7.50 dollar.

UPDATE HISTORY: v0.90 MOD Minor aesthetic changes. (beta) MOD End key now skips to last entry in Order List. MOD End key now alternates between end of instrument/ sample name and PLAY button. MOD Held key no longer retriggers in audition mode. MOD Note Off no longer 'sounds' for note entry (except when pattern follow is ON and pattern is playing) FIX Text entry for sliders bug. FIX Cursor drawn over volume amplification box. FIX Slider graphics not updating with mouse use.

FIX Flickering in MIDI Settings dialog. FIX Default MIDI velocity and Pitch bend range bug. FIX MIDI effect 00 setting no longer uses last value. FIX Alt-8 Set Cursor Step not functioning. VSTrack is the ultimate union of sequencing and tracking. ReViSiT is a VST Instrument (VSTi) plug-in for VST-hosts (such as sequencers) that provides a tracker interface, based on Impulse Tracker II, to the user. Unlike normal VSTi's which simply take MIDI input, reViSiT's editor window is a tracker interface, which takes on the role of the 'music sequencer' - synthesizing both music and sound.

Tracking is a method for computer music almost as mature and time-honoured as MIDI. Sometimes better, sometimes not so - always different. Tracking has to date been the remit of dedicated underground freeware software called 'Trackers', particular examples of which (eg. Fast Tracker, Impulse Tracker) have almost acrued cult-status with multi-million strong user-bases. The integration of the Tracker architecture (notably its User Interface.) in sequencer software, will bring the best of both worlds to the composer. Sequenced and 'tracked' music will be feasible within a single work. Composers can rely on the MIDI support and score facility of sequencers and/or turn to reViSiT for finer control of their music and audio.

The net result of a tracker, like all music applications, is audio. However, depsite the name, trackers should be likened to a software-sampler rather than a multi-track recorder. Inside a sequencer, reViSiT users will have full run of the hosts facilities in this department. Though 'tracked' music has often been combined with video, no freely-available software exists to this end.

ReViSiT will be able to use any such facilities in the host sequencer. The reViSiT interface is based on that of Impulse Tracker II, a development of Scream Tracker III. Update R1.1.0.

Release version for Mac OS X VST and AU Universal Binary. Better compatibility with major hosts. New anti-alias fonts.

New preset format for VST cross compatibility for PC and Mac. Compiled with our latest DSP library. Balance knobs travel now from -50 to +50%. KR-Space is a superb quality modular reverb-echoes based multi-effect plug-in which can produce a multitude of different types of effects, from traditional echoes and reverbs, to very complex soundscapes, modulation and filtering effects, resonating echoes and reflections, saturation effects and other types of effects which are not available on any commercially available plug-in of this type. To achieve this wide range of effect creation KR-Space uses a proprietary design and a flexible modular architecture where the different available modules can be switched on and off or routed in various combinations allowing more flexibility in effect design.

The modular architecture also allows more efficient CPU utilization since only the modules that are switched on contribute to the CPU overhead. KR-Space introduces the Animated Object Space Emulator (AOSE) where the user has control over a number of spherical objects which are placed in our virtual environment and affect the sound output in a multitude of ways.

These objects have various user controlled characteristics like size, resonance, oscillation frequency, reflection characteristics etc. And can be animated (move) in our virtual environment affecting the total sound output. Additionally to the proprietary AOSE the main reverberation engine features separate damping controls for early and late reflections allowing more detail filtering control and thus expanding the total range of available effects and also introduces our Asymmetric Reflection Scheme for more realistic reverb and echoes creation. From the homepage: Thanks to the prompt feedback of the LUNA community here on Kvr Audio, we already killed a possible crash bug and finetuned VST windowing on Windows. That resulted in LUNA PreRelease 8b.

LUNA is a state of the art, ultra-light music application, designed to compose & perform music of different styles and flavors. LUNA does not have a complex feature set, in which you can get lost. At the contrary, LUNA is an easy yet rock-solid musical tool. It's our intention to extent LUNA's functionalities in the future, but without compromising on easiness or quality. LUNA's core feature set:. Audio Recording & Playback. MIDI Recording & Playback.

Composition & Sequence Editing. Audio and MIDI VST Plugins. Powerful Audio and MIDI Routing. Audio Engine using 32 bit floats, all usable samplerates. Sample Accurate Sequencing. Multi Undo/Redo.

Available for OSX as a Universal Binary. Available for Windows (ASIO) LUNA comes in 2 flavors: LUNA Free and LUNA Unlimited. LUNA Free is a light version of LUNA Unlimited and is free to everyone.

LUNA Unlimited at the other hand supports an unlimited number of VSTis and Mixer Strips. Paax Pro v3.2 with realtime parameter automation is out! Changes:. Enhanced parameter automation, optimized for realtime access with NI Kore and similar control surfaces. Smoother preset transitions.

Improved LFO performance. Fixed lost registration bug Paax Features.

Up to 128 presets per bank. Up to 84 splits per preset and 8 dual velocity-layers (16 samples) per split. 256 simultaneous voices. Plays 8/16/24/32 bit., mono/stereo wav files @ any sample rate.

Low CPU consumption. Low aliasing resampling technology, 32 bit audio engine. 3 envelope controls (DAHDSR) per preset: amplitude, pitch and filter cutoff. 3 configurable LFOs per preset: tremolo, vibrato and filter cutoff with optional delay.

All envelopes and oscillators can be synchronized to MIDI tempo. New Micro-Granular pitch-shifting option for transposing sounds without affecting duration/timbre. New bank format offers choice for embedded or referenced samples.

Capable of importing SoundFonts (.sf2) and AKAI S5000/6000 programs (.akp). Fully automatable. VST 2.3 compatible. Freeware version is limited to 64 voice polyphony. Freeware version can only load 8/16 bit wavs. Paax Pro offers the following features that the freeware version does not have:.

256 simultaneous voices (Freeware version is limited to 64 voice polyphony). Loads 8/16/24/32bit, mono/stereo wav files. Optional direct disk streaming of samples with configurable buffer size.

Access to advanced control panel for each split-layer-channel. Access to sample editor controls for setting and tweaking the MicroGranular pitch-shifting option. Transpose sounds without affecting their duration/timbre!. Ability to fully edit SoundFonts and convert them into.pax banks. Up to 4 stereo VST outputs with individual attenuation and pan controls.

Different splits can be routed to separate outputs! Paax 3 Pro New Features. Improved MicroGranular time-domain technology for advanced time-stretching and pitch-shifting; individual settings for sound duration, fundamental (tone) and harmonics (timbre) transposition!. New multi-mode resonant filter (low pass, high pass, band pass and band stop) with up to 30 dB resonance. New direct disk streaming option for straight-from-the-drive sample playback (no need for lots of RAM!). New stereo flanger effect.

New import of DS-404 preset files (.404). Up to 256 voice polyphony. Optimized audio engine (20% faster). New GUI with a fresh style in light colors. New option for circular/linear knob action. What are the requirements for using Paax?

Paax is a VSTi (Virtual Studio Technology) instrument plug-in that runs on any Windows VST compatible host; typically an audio sequencer like Cubase, Nuendo, N-Track Studio, etc. All you need is a PC (Pentium II or higher, 128 MB RAM min., Win 98/NT/2000/XP), a soundcard, and a VST compatible host (ASIO compatible host/card provide a lower latency). Price: $45 USD. List of fixes:. problem related to Dual-Core machines, loading up 2 presets/instances at the same time. problem with presets that has a DOT '.'

. graphic-bugs of the File-Browser. problem with the Rank system.

problem with the Percentage-Bar. crashes related to browsing presets. loading of files with a space before the file-name extention. EG: 'Grand Piano.WusikPRST'. while loading a preset, key focus remain on the main GUI.

display of RANK presets on the main-GUI was causing incorrect displays. problem when editing and loading effects.

midi-learned CCs were not showing at the effects controlls. HQ Pianos - Essenfelder: the samples were all in mono, an error during conversion. We added a new set of files and a new preset, to update, download the following file 'EssenfelderUpdate.exe'. Old projects won't be affected, as both samples and preset were saved on separated files. The new preset is 'Essenfelder - Stereo Dyna Full 2.WusikPRST'. All HQ Piano presets were updated, as they were a bit off tune.

This won't affect your current songs, only new projects. categorized library updated. (organized presets that were on the wrong place) From the homepage: Hybrid Vector & Wavesequencer Sampler for VST Hosts Wusikstation is one of the most popular Sampler/Rompler out there. Since it started, if got more and more features asked by users, a new interface, easier way to load presets and much more. Its been rated by users the number one choice when creating songs. It can cover pretty much any style of music.

From NewAge to SoundTracks, from Dance to Techno. Thanks to the big selection of extra SoundSets provided by 3rd party companies, you will never get bored with it. Price: $ 99.95.

For most of the 20th century, counterterrorism and technology coexisted in a one-sided relationship. In large part, law enforcement and the military adapted the technologies that were commercially available to their needs. That relationship may simply be inadequate for addressing the challenges of the 21st century. Meeting the test of terrorism will likely require a more proactive approach to technological innovation-betting on the future: formulating clear requirements, prioritizing needs, establishing cooperative means to foster the development of technologies, and building the human and financial capital programs necessary to transition and sustain them as effective anti-terrorism tools. In my remarks today, I want to list my 'big bets' for the future-six technologies that I believe offer the greatest promise for providing significant advantages in combating terrorism-and address as well the chal­lenge to turning the potential of technology into con­crete capabilities.

Traditional means of developing law enforcement technologies are simply inadequate to deal with today's strategic realities, and the war on global terror­ism should top our list of concerns. While every country may not agree on a definition of terrorism, that does not mean that it does not exist and does not represent a terrible threat to world peace. Nor do terrorists seem concerned about defini­tional nuances. They have decided they are most cer­tainly at war with us, and they think they are in a war they can win. We are at war.

In fact, the global war on terrorism will be like most wars. It will have casualties and sacrifices, victories, defeats, advances, and set­backs. Progress will not be determined by the out­come of individual battles or campaigns. It will, to a remarkable degree, look much like the Cold War. Like the Cold War, it will be a long, protracted con­flict because, despite the preponderance of power held by the nations united in their commitment to combat terrorism, we will not be able to come directly to grips with the enemy-then because it risked nuclear war and annihilation, now because the enemy is too disparate and diffuse to be defeat­ed in climactic battle. We are in another long war.

It is, however, a war of a different kind. There are no frontiers in 21st century national security. Dis­tinguishing clear lines of responsibility between foreign and domestic security is a thing of the past.

Additionally, the age when only great powers can bring great powers to their knees is over. The spec­ter of catastrophic terrorism that could threaten tens of thousands of lives and hundreds of billions of dollars in destruction will be an enduring con­cern.

And if catastrophic terrorism is a threat to great countries, the prospects for smaller nations is even more daunting to imagine. Making Big Bets Technology is, of course, not the only answer to addressing the specter of transnational terrorism, but the technological answers we have today are inadequate to deal with the scope and potential severity of the threat. Rather than adapting technol­ogies to stay apace of evolving dangers and chang­ing tactics, we need to get ahead of the terrorists and develop 'overmatching' security systems that protect the public, safeguard their liberties, and leave travel and commerce unencumbered.

Developing technologies that leap ahead of the terrorists requires vision and strategy, and a good strategy requires hard choices. It begins by estab­lishing criteria for selecting the most crucial tech­nological investments. In my mind, there should be three:. Seeking out technologies that can contribute to building a true national system that addresses all the challenges of terrorism from intelligence and early warning to domestic counterterrorism and response.

It is unlikely that any country will have the resources it needs to address every security shortfall or law enforcement need. Thus, the first priority of a sound strategy should be to invest in technolo­gies that best leverage all the existing capabili­ties that are available by integrating them into a cohesive system. Reaching for 'breakthrough' technologies. Terrorist groups have limited resources and limited means; thus, they are quick to refine their methods, improving on time-tested tech­niques, or improvise, seeking out new ways to strike or new targets to attack. In response, law enforcement officials update their investigatory techniques or implement new security mea­sures. Breaking the cycle of innovation and countermeasures between terrorism and coun­terterrorism calls for unprecedented innova­tion with which terrorists can simply not compete. I want to suggest six candidates that meet these standards.

They are (1) system integration technol­ogies; (2) biometrics; (3) non-lethal weapons; (4) data mining and link analysis technologies; (5) nanotechnology; and (6) directed-energy weapons. In some cases, these technologies are fairly mature but are just finding their counterterrorism niche.

Others show great potential but will still require many years of research and development before they are ready to become operational. Yet all share a common characteristic: They offer signifi­cant potential solutions to addressing the most pressing counterterrorism concerns.

'National' Technologies My first two candidates clearly fit the first crite­rion for a counterterrorism technology strategy. They represent a family of capabilities that are essential for building national capabilities. System Integration Technologies. One of the highest priorities for technological innovation ought to be simply getting the most out of the resources that are already available. That means adopting a new approach to counterterrorism oper­ations as well as the enabling technologies to sup­port it.

This approach is often called 'network-centric' operations. Network-centric operations generate increased operational effectiveness by networking sensors, decision makers, law enforcement officials, and emergency responders to achieve shared awareness, increased speed of command, higher tempo of oper­ations, greater efficiency, increased security and safe­ty, reduced vulnerability to potential hostile action, and a degree of self-synchronization. In essence, this means linking knowledgeable entities from the local to the national levels in an integrated network that addresses counterterrorism missions ranging from intelligence and early warning to response and post-strike investigations and forensic analysis. Systems integration technologies might produce significant efficiencies in terms of sharing skills, knowledge, and scarce high-value assets, building capacity and redundancy in a national counterter­rorism system as well as gaining the synergy of pro­viding a common operating picture to all law enforcement and emergency responders and being able to readily share information. Many of the technologies required to facilitate network-centric counterterrorism operations are already widely commercially available, including information technologies that facilitate passing high volumes of secure digital data, create ad hoc networks, integrate disparate databases, and link various communication systems over cable, fiber-optic, wireless, and satellite networks.

Identity is the linchpin of virtually all security and investigatory systems. Since Sep­tember 11, 2001, there has been increased interest in using biometrics for identity verification, espe­cially in the areas of visa and immigration docu­mentation and government-issued identification card programs.

Biometrics are recorded measures of a unique physical or behavioral characteristic of individuals. They are thought to be more reliable and more dif­ficult to forget, lose, have stolen, falsified, or guessed since they are part of a person rather than an ID card, a personal identification number, or a password. Biometrics can be used for verification or for identification. When a biometric is used to verify whether a person is who he or she claims to be, that verification is frequently referred to as 'one-to-one' matching.

Identification, by contrast, is known as 'one-to-many' matching. In identification, a per­son's presented biometric is compared with all of the biometric templates within a database. There are five major types of mature biometric technologies.

They include iris recognition, hand geometry, fingerprint recognition, face recognition, and voice recognition. Voice recognition technology identifies people based on the differences in the voice resulting from physiological differences and learned speaking habits. Researchers are also looking for other useful bio­metrics. Some of these emerging technologies include vein scans, facial thermography, DNA matching, odor sensing, blood pulse measurements, skin pattern recognition, nailbed identification, gait recognition, and ear shape recognition.

Biometrics like vein scanning are just becoming commercially available, while others, such as ear shape recogni­tion, are recently started research projects. 'Biggest Bang for the Buck' Technologies The next two categories of candidate technolo­gies that I want to mention fall under the second criterion for an aggressive counterterrorism tech­nology strategy: getting the 'biggest bang for the buck.'

Non-lethal Weapons. One of the most signifi­cant challenges in the war on terrorism is that its battlefields are often the everyday world, where civilians and terrorists often stand side-by-side, where as much attention must be given to safe­guarding lives and property as to disrupting, appre­hending, or incapacitating terrorists. Non-lethal weapons may offer the military and law enforce­ment a new range of options for taking the battle to the terrorist without endangering others. Non-lethal weapons are discriminate, explicitly designed and employed to incapacitate personnel or materiel while minimizing fatalities and undes­ired damage to property and environment. These weapons are actually a set of capabilities which have approximately three functions:. Countercapabilities, which focuses on disabling or neutralizing facilities and systems, including those for weapons of mass destruction.

Today, non-lethal weapons technologies cover a broad spectrum, including areas related to the development of acoustics systems; chemicals (e.g., antitraction materials, dyes, markers, and malodor­ants); communications systems; electromagnetic and electrical systems; entanglement and other mechanical systems; information technologies; optical devices; non-penetrating projectiles and munitions; and many others. It is also possible to combine non-lethal weapons with lethal ones or with electronic, psychological, and/or information warfare, making these other anti-terrorism tools more effective and discriminate. Research by the U.S. Military suggests four areas of non-lethal weapons development that show par­ticular promise. Adaptation of unmanned or remotely piloted platforms and other sensors for non-lethal weapons applications, including intelligence collection and assessments. Data Mining and Link Analysis Technologies.

We live in a world that is becoming increasingly awash in commercial and government informa­tion. The trail of the terrorist, however, is often indistinguishable from a mass of bills, license applications, visa forms, census records, and tele­phone lists. Traditional law enforcement investiga­tion techniques often begin with the identification of a suspected individual, followed by the labori­ous process of seeking out information related to that individual.

As more and more information becomes available, this task becomes more and more problematic. Technology, however, now has the potential to turn this challenge into an advantage.

Rather than trying to narrow the scope of information that has to be looked at, data mining and link analysis tech­nologies work best by exploiting larger and larger amounts of information. Data mining is a 'technology for analyzing histor­ical and current online data to support informed decision making.' It involves identifying patterns and anomalies from the observation of vast datasets.

The primary goals of data mining are prediction and description. Prediction involves using some vari­ables or fields in the database to predict unknown or future values of other variables of interest, and description focuses on finding human-interpretable patterns describing the data. Description concerns increasing knowledge about a variable or dataset by finding related information. This second characteristic of data mining- description-is often referred to as link analysis. Whereas data mining attempts to identify anomalies in vast amounts of information, link analysis technol­ogies sift through databases to find commonalties.

Link analysis is a slightly different twist on data mining. In preventing a terrorist attack, it is critical that one understands the relationships among indi­viduals, organizations, and other entities which could be security threats.

Link analysis is the pro­cess of analyzing the data surrounding the suspect relationships to determine how they are connect­ed-what links them together. While the technology to conduct data mining is rapidly maturing, it is currently limited by its capacity to handle non-structured formats; i.e., those that are a mix of text, image, video, and sen­sor information. In addition, future algorithms will also need to incorporate the knowledge of human experts into their derivation of patterns.

'Breakthrough' Technologies My final two candidate technologies definitely fit into the last category of an aggressive technology acquisition program. They offer two potential breakthroughs which could significantly reshape the nature of competition between terrorism and counterterrorism.

As a counterterrorism tool, nanotechnologies are in their infancies. Nanotech­nology involves developing or working with mate­rials and complete systems at the atomic, molecular, or macromolecular levels where at least one dimension falls with the range of 1-100 nanometers.

Working at such a small scale offers unique capabilities, such as being able to control how nanodevices interact with other systems at the atomic or molecular level. Current research areas include materials, sensors, biomedical nanostructures, electronics, optics, and fabrication. Materials which have been modified at the nanoscale can have specific properties incorpo­rated into them. For instance, materials can have coatings that make them water-repellant or stain-resistant. According to a study by Daniel Ratner and Mark A.

Ratner: Nanoscale sensors are generally designed to form a weak chemical bond to the substance of whatever is to be sensed, and then to change their properties in response (that might be a color change or a change in conductivity, fluorescence, or weight). Biomedical nanostructures, by design, interact with people at the molecular level, allowing for tar­geted drug delivery, adhesive materials for skin grafts or bandages, etc. Nanoscale electronics can help to shrink computer circuits even further and to make them more efficient. Nanoscale optics allow once again for materials that fluoresce to be tuned at the nanoscale to change specific properties under certain conditions. Fabrication at the nanoscale offers the potential of creating devices from the atom up, as opposed to having to shrink materials down to the needed size. According to a RAND report, there are numerous future applications for nanotechnology, though most face at least some technical hurdles.

They include nanofabricated computational devices like nanoscale semiconductor chips, biomolecular devices, and molecular electronics. If one includes integrated microsystems and micro-electrical-mechanical systems (MEMS) in the discussion, and one probably should, there are additional uses for nanotechnology, including smart systems-on-a-chip and micro- and nanoscale instrumentation and measurement technologies. While there are counterterrorism applications for all of the research areas, sensors are the most promising.

Nanodevices offer the opportunity for fast, cheap, and accurate sensors and detectors, and markers that can be used for a wide range of foren­sic activities. Directed-Energy Weapons. Active defenses such as directed-energy weapons could provide counter­terrorism protection for critical infrastructure. Directed-energy weapons include a host of technol­ogies, including lasers and microwave radiation emitters. These weapons can inflict casualties and damage equipment by depositing energy on their intended target.

Compared with conventional weapons, which rely on the kinetic or chemical energy of a projectile, directed-energy weapons can hit a target with sub­atomic particles or electromagnetic waves that trav­el at speeds at or near the speed of light. They generate very high power beams and typically use a single optical system both to track a target and to focus the beam on the target in order to destroy it. Lasers-the most mature form of directed-ener­gy weapon that can counter airborne threats-form intense beams of light that can be precisely aimed across many kilometers to disable a wide range of targets, from satellites to missiles and aircraft to ground vehicles. Additionally, the laser beam can be redirected by mirrors to hit targets not visible from the source, all without compromising much of the beam's initial power. Such systems could evolve to provide active defenses against a wide array of potential threats from artillery, rockets, mortars, missiles, and low-flying unmanned aerial vehicles to improvised explosive devices. For example, these weapons could be deployed at airports to defend planes from attacks by shoulder-fired missiles (and by make­shift rockets and missiles) during takeoff and land­ing-the times when aircraft are most vulnerable.

With most airports located in or near major urban centers, directed-energy weapons could help to address the near impossibility of providing ade­quate, credible security zones around airports. Fur­thermore, they could defend coastal airports from attacks launched from a commercial or private ship loitering offshore-a potentially ideal platform for launching precision strikes. Several countries, including the United States, already have these sys­tems under development. Challenges Ahead It remains to be seen how governments and the private sector apply their energy and imagination to turning these technologies into potent anti-ter­rorism tools. There are several serious obstacles to be overcome.

Research and Development Trends. The Sep­tember 11, 2001, attacks on New York and Wash­ington seem only somewhat to have affected research and development trends in the United States, and, indeed, it appears that the same trend is holding true for other nations as well.

American research and development efforts have been affect­ed only 'on the margins.' For example, the newly created Department of Homeland Security has a science and technology directorate with a research budget of about $800 million. While that seems like a great deal of money, it is a small fraction of the $90 billion the U.S.

Government spends on research. In turn, government research represents an increasingly less significant portion of the total research and development effort.

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In the 1960s, about two-thirds of U.S. Research was federally funded. Today, two-thirds of research-about $180 billion-is funded by the private sector. For exam­ple, American software and semiconductor compa­nies spend about $10 billion, which is about the same amount as the entire research budget for the U.S. Space program.

The balance of investments for research and development does not bode well for counterter­rorism technologies. Most of the cutting-edge research in related areas, particularly with regard to information technology and biotechnology, is in the private sector where development pro­grams are largely driven by potential markets and the profits to be made in the security sector seem to pale in comparison with other commercial opportunities. In part, this challenge can be addressed by mak­ing the counterterrorism community a more attrac­tive customer for the private sector. Legal incentives such as indemnification for products may help-as would broadly accepted internation­al standards for the application of technologies, particularly in the areas of biometrics.

Moving to open and non-proprietary information architec­tures that make it far easier to adapt commercial technologies to law enforcement needs would also be of great benefit. A significant next step would be initiating a serious dialogue to determine what a future inter­national counterterrorism security technology development regime might look like. It would require, among other things, a technology clear­inghouse so that partners know what technologies are available for transfer; a method of setting stan­dards so that technologies are understandable; interoperable and transferable means for indus­try-to-industry dialogue; predictable export con­trol requirements; and acquisition mechanisms such as joint development programs, licensing agreements, and something comparable to the foreign military sales program. Any of these or other initiatives that serve to cre­ate a more uniform and dependable market for counterterrorism technologies would serve to make it a more attractive target for the private sec­tor and, in turn, stimulate the responsiveness of private research and development in support of key law enforcement needs. Barriers to Innovation. Even if private research and development can be better teamed with gov­ernment efforts and focused on the terrorism chal­lenges of the 21st century, the traditional barriers to innovation in law enforcement technologies will remain. These challenges include four areas.

Human Factors. New counterterrorism tech­nologies can face a plethora of obstacles that have nothing to do with fiscal costs or technical specifications. For example, data mining and biometrics have raised an array of concerns about the protection of civil liberties and safe­guarding of proprietary commercial informa­tion.

Non-lethal weapons face legal barriers. Additionally, institutional cultures may have dif­ficulty adapting to new technologies, and new systems may present significant training and leader development challenges.

Systems inte­gration, for example, can enable law enforce­ment agencies to share information with others, but a number of concerns might make them reluctant to do so. Unanticipated Costs. Any new technology will bring unintended consequences.

The introduction of nanotechnologies, for example, has raised concerns about the potential conse­quences of unintentionally introducing new compounds into the environment. New tech­nologies can also bring unexpected liabilities and adverse public reactions. Perhaps the best means to satisfy these con­cerns is to address potential policy issues that may serve as barriers to the adoption of new technolo­gies before new capabilities are introduced. Policy development that anticipates technological devel­opment represents a largely unprecedented chal­lenge to law enforcement. More often than not, law enforcement's approach has been to take years to develop the procedures that govern the imple­mentation of new technologies, largely waiting for commercial technologies to mature, threats to evolve, and legal precedents to be established.

This process will not serve for the challenges of the 21st century, where policy innovation must match, or indeed exceed, the speed of technolog­ical progress. Conclusion The terrorist threat against the free world is seri­ous and enduring. We need to jointly develop the means and the technologies needed to meet this threat.

The obstacles to creating an arsenal of counter-terrorism technologies that are practical and afford­able and overmatch the threat of 21st century ter­rorism are daunting. Creating a vision of these future technologies, implementing initiatives that broaden the market and make it more predictable and dependable, and developing policies that will help to overcome the barriers to innovation are essential steps to harnessing technology to the future needs of law enforcement., is Senior Research Fellow for National Security and Homeland Security in the Kathryn and Shelby Cullom Davis Institute for International Studies at The Heritage Foundation.

These remarks were prepared for delivery at a Middle East Police Exhibition Conference held at the Dubai World Trade Center.