Soundscape R.Ed

The system consisted of an external 2U rack unit which housed the audio processing hardware, based on Motorola 563xx family DSPs, 24 inputs and 24 outputs via TDIF digital ports and four IDE hard disk drives (two internal and two with removable trays).

Optional software packages for Auto-Conforming (for film and TV post-production use) and CD Mastering were available as well as a selection of plug-in effects developed by well known companies such as TC Electronic and Dolby Laboratories.

This commitment to free updates, coupled with consistently high product release quality, contributed to an environment where bugs were virtually non-existent.

Together with Johan's employer, Sydec NV, they devised a plan to jointly design, manufacture, and market a modular 4-track hard disk-based digital audio workstation (DAW).

The computer peripherals division, specializing in products like licensed joysticks (e.g., Bart Simpson, Batman, Alien), was separated into another company within the group.

Following these developments, Chris Wright and Sales Manager Nick Owen acquired the assets of the Cheetah music products division, founding Soundscape Digital Technology Ltd.

The dedicated hardware eased the strain on the PC, enabling simultaneous use of other MIDI sequencers like eMagic Logic, Steinberg Cubase, and Cakewalk.

Despite its steadfast performance, the Soundscape system faced a limitation compared to the industry-leading Pro Tools—the availability of DSP power for mixing and effects.

Connected via a fast bus, the Mixpander card marked a significant milestone by unlocking an extensive reservoir of real-time DSP processing power for users.

Notably, Soundscape systems were extensively utilized within the CBC in Canada and other broadcasting networks globally, as well as in large multi-track setups in recording studios.

Soundscape contributed significantly to ushering in a new era of digital recording and editing, introducing an entire generation to these technologies—many of whom had not previously engaged with computer-based tools.

Its widespread industry support was evidenced by the development of Soundscape format plug-ins by leading companies such as TC Electronics, Dolby, Drawmer, CEDAR Audio Ltd, Synchro Arts, among others.

This encompassed a diverse range of entities, from radio automation companies like RCS, D.A.V.I.D, and Dalet Digital Media Systems to video NLE manufacturers such as DPS and D-Vision (later Discreet).

In 1997, Sydec encountered financial challenges when a management buyout from their parent company, Niko (a Belgian manufacturer of electrical products such as light fittings), resulted in complications.

However, faced with the urgent need for additional revenue due to the financial strain on the other half of Sydec, Chris Wright initiated discussions on potential solutions.

While Mackie initially refrained from signing the contract due to concerns about Sydec's financial stability, they later conducted investigations and identified vulnerability in the company.

In response to Mackie's use of their intellectual property, Soundscape initiated a legal dispute, which culminated in a case presented before the High Court in London.

Despite being in a healthy position at the close of 2000, Soundscape found itself facing financial difficulties, leading to the decision to cease operations in September 2001.

Contrary to expectations, Mackie, despite its role as the assumed savior, struggled to manage the product, resulting in minimal activity and almost no sales for a year.

The current strategy involves utilizing hard disks connected to the PC in conjunction with a Mix pander card, enabling the software to operate independently of external units.