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HEDD Audio launches HEDDphone TWO

Posted: 05-Sep-23

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Powered by new advances in Air Motion Transformer technology and informed by profound user feedback, the new HEDDphone has undergone a turbo-charged evolution. With a folded Kapton diaphragm over three times larger than of traditional dynamic, planar, or electrostatic driver designs, the sound of HEDDphone TWO has reached new heights—it precisely tailors subtle transients and creates a transparent, natural musicality. It delivers a speaker-like, evenly balanced soundstage with stunning definition, permitting long listening periods with very little fatigue.


Building on the success of its predecessor, used by award-winning producers and engineers like Tchad Blake, Hildur Guðnadóttir, and DJ Jazzy Jeff, this headphone is crafted with particular focus on the needs of mastering engineers, mix engineers, and producers—without forgetting the broader spectrum of consumer headphone enthusiasts.


Several breakthroughs have been achieved in the three and a half year process of developing and designing HEDDphone TWO. HEDD Audio’s R&D team reconstructed the driver from scratch, using lightweight materials like carbon fibre and magnesium to achieve a staggering 25% weight reduction from the original. Furthermore, an all-new mechanical design was developed that enhanced the product’s durability while simultaneously making the entire unit more compact.


Extensive material and reliability testing has allowed HEDD to offer a rare and extended five-year warranty for HEDDphone TWO, available to customers via product registration.


A patent is pending for the all new unique headband (HEDDband) that provides users with a true custom-comfort-fit experience. HEDD have gone all-out to invent a smart strap system, allowing parameters like height, width, curvature, and even the clamping pressure to be tweaked and adjusted to the head shape and taste of an individual listener.


To ensure highest flexibility straight out of the box, HEDDphone TWO includes a carrying case as well as additional balanced and unbalanced cables, making it easy to take HEDDphone TWO to recording projects... and even on vacation. Heavy users will appreciate the spare set of ear pads, also included.


 



 



HP2: Price and Availability


Priced at 1999€ (incl. VAT), HEDDphone TWO will be available in late September (North America) and from mid to late October (Rest of the world).



HP2: Specifications


Concept: Open-back over-ear
Driver: Full-range Air Motion Transformer (AMT)
Diaphragm: Kapton polyimide film
Frequency range: 10Hz – 40 kHz
Sensitivity: 89 dB/W
Impedance: 41 Ohm
Weight: 550g
Power Requirements: minimum 200mW, recommended 1000mW or more Cable: Kevlar-infused, graded
Vegan-Leather ear pads and head cushion
Made in Germany



HP2: In the Box


HEDDphone® TWO
Travel case to fit HEDDphone® TWO and Accessories 1x additional set of spare ear pads
1x 2.2 m unbalanced cable with 6.35 mm termination 1x 2.2 m balanced cable with 4.4 mm termination
1x unbalanced adapter from 6.35 mm to 3.5 mm
1X balanced adapter from balanced 4.4 mm to XLR


HEDDphone TWO is hand-built in Berlin, Germany


Web-Link:


OXI Instruments introduces Coral as only multitimbral synth module marketed for Eurorack

Posted: 04-Sep-23

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Having hitherto made musical waves with its inaugural OXI One product release as a battery-powered performative sequencer, controller, and composition tool with four fully-independent sequencers (originally raising 1,178% of its fixed funding goal with American crowdfunding website Indiegogo in 2021 and regularly updated with new features since shipping), inspirational and innovative music-making tools-crafter OXI Instruments is proud to announce (limited stock) availability of Coral as the only multitimbral synthesizer module marketed for Eurorack — embracing eight-voice polyphony (freely splittable into different parts and allowing every parameter to be independently set for each voice or part) and several sound engines (each assignable to different voices) all accessible via a colourful, organic interface arranged around an anodised and beautifully silk-printed aluminium panel, premium finished with custom aluminium knobs, empowering users to create basslines, drones, drums, pads, and riffs while effortlessly manipulating voices independently to craft complex patches out of the box — as of August 30…


Ultimately utilising lots of computing power to deliver rich-sounding engines in an eight-voice package that could conceivably be termed the ultimate multitimbral synthesizer — depending on the sound engine involved, one voice can have up to eight oscillators, meaning up to 64 oscillators playing at once making for a massive sound, for example, Coral can be played in a number of ways. While it is fair to say that it breaks free from conventional polyphonic synthesizer behaviour, Coral can conveniently be played polyphonically using only one CV (control Voltage) and gate connection, allocating a new voice every time it registers a new note — be that part of an arpeggio, strummed chord, or pad with long decayed notes — on the oct (V/Oct) input. Independent filter, amplifier, and modulation envelopes are available to each of those voices — in fact, every parameter can be independently set for each voice, including individual effect sends! It is also possible to play all eight voices in unison — all voices playing the same note for drones and thick textures, as well as triggering the internal envelopes with the trig input or directly controlling the amplifier level with the amp CV.


Coral also benefits from full MIDI (Musical Instrument Digital Interface) integration, meaning multitimbral operation is a given while also allowing for control over any part’s parameter via MIDI CC (Continuous Controller) commands. Indeed, its eight voices can be freely split into different parts; this time, every parameter can be independently set for each part to craft complex patches out of the box. But there’s more: once those voices have been grouped across different parts, users can distribute the modulation signals across them using the part CV; so, for instance, if there are two parts, the first part will be addressed if the part CV voltage is between 0 and 2.5V while the second will be addressed if the voltage is between 2.5 and 5V.


But better still, several sound engines can be assigned to each of Coral’s voices; included instances available from the outset are Virtual Analog, Waveshaping, FM (Frequency Modulation), custom Wavetable, MDO (Multiple Detuned Oscillator), String, HiHat Synth, Snare Synth, Digital Kick, and Wav Player, now boosted by new Additive with Wavefolder and Diode Distortion additions. As one such sound engine implies by name, Coral supports almost any kind of WAV file — 16-, 24-, and 32-bit mono or stereo — with no limit to playback time! Thinking outside the box comes easily when working with Coral — add overdrive to samples, sculpt them using the filters and envelopes, pitch them up and down in tune, and even modulate the sample file or folder in real time using the CV inputs or MIDI CC commands! It is possible to load any wavetable WAV file to the SD card for Coral’s Wavetable engine; wavetables can even be morphed into three dimensions using OXI Instruments’ OXI Wave app — based on the amazing Wave Edit app created by Andrew Belt — that makes creating and editing them both fun and interesting in equal measures.


Clearly, Coral can go far beyond the realms of a conventional polyphonic synthesizer, then, thanks to the comprehensive voice management and manipulation on offer. On the face of it, those powerful sound engines speak volumes in and of themselves — as does Coral’s full-featured polyphonic sample playback plus built-in space (deep atmosphere) and chorus (rich ensemble) effects potential. It is, indeed, the only eight-voice polyphonic, multi-engine, multi-part synthesizer module marketed for Eurorack, one whose freedom of voice management is even hard to match in desktop gear. Going from rich polyphonic patches to a fully-fledged groove box with basslines, drums, and leads comes quickly to Coral, which, of course, can be fully controlled using MIDI and CV — or both! All available to all in a compact (14HP) form factor for a reasonable price — particularly when pitched against a conventional polyphonic synthesizer.


“The introduction of Mutable Instruments’ Plaits module was a revolution in terms of compact, multi-engine synth voice modules,” maintains OXI Instruments CEO & CTO Manuel Vázquez Rodríguez, good-heartedly giving credit where credit is due before digging deeper to end on a high note: “Thanks to their open source contributions, we have taken some of their algorithms and put them into a tasty, compact package that contains eight ‘instances’ of that module with custom-developed engines alongside new ingredients like independent envelopes and filters per voice, effects, full MIDI implementation, and a colourful, organic interface. On top of that, custom wavetables and a sample playback engine are also available per voice. But we didn’t want to just create another polyphonic synth, so, to allow users to make the most of every voice, we’ve introduced the multi-part concept. Consequently, users can arrange and use the eight voices as they wish — with eight monophonic parts, one polyphonic part of eight voices, or any combination thereof, such as two polyphonic parts of three voices each, plus two monophonic voices in the same module, meaning Coral can be corralled into acting as a versatile and powerful polysynth, drum machine, groovebox, and sound exploration module… all at the same time! We won’t stop there, though, adding more features in future through regular firmware updates — just like we’ve been doing with OXI One!”



Limited stock of Coral is available to order online directly from OXI Instruments’ Store (https://oxiinstruments.com/product/oxi-coral/), priced at €399.00 EUR (excluding VAT) for EU (European Union) countries (with VAT being added at checkout for individual EU customers) and €459.00 EUR for ROW (Rest Of the World) countries (where duties and taxes may be charged on delivery) with worldwide shipping available.


 



 



About OXI Instruments (www.oxiinstruments.com)


OXI Instruments is focused on crafting innovative tools that offer a refreshingly new and inspirational approach to music-making. The trigger that brought the company into existence emanated from the ideas of one Manuel Vázquez Rodríguez, a young Spanish engineer with a passion for music and a background in music production spanning several years. While working in a non-related sector, he started working on prototypes of what would ultimately become OXI One, its inaugural product release realised as a battery-powered performative sequencer, controller, and composition tool with four fully-independent sequencers (originally raising 1,178% of its fixed funding goal with American crowdfunding website Indiegogo in 2021 and regularly updated with new features since shipping). Subsequently he quit his day job to focus full-time on providing products with which users can create and perform music in new, easy, intuitive, and fulfilling ways, working with several like-minded colleagues in order to do so.


Web-Link:


Universal Audio's Lexicon 224 reverb plugin at its lowest price ever!

Posted: 15-Aug-23

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Offer ends 21st August 2023 - Universal Audio are doing a deal on the Lex 224 plugin for a super-low $89 bucks (USD). You get the Native & Apollo versions so don't worry if you dont have the UA hardware to run plugins on, this can also run Native.


From the moment it was unleashed in 1978, the Lexicon 224 Digital Reverb — with its tactile, slider-based controller and famously lush reverb tail — single-handedly defined the sound of an entire era.

From Talking Heads' Remain In Light to U2's The Unforgettable Fire, the Lexicon 224 remains one of the most popular digital reverb units of all time. Now you can track and mix with this singular piece of audio history with the Lexicon 224 Reverb plug-in.


 


Included Versions



  • UAD Native - Runs on your Mac or PC without UA hardware.

  • Apollo Realtime & UAD‑2 - Runs accelerated on Apollo interfaces and UAD‑2 hardware.


 



  • Track and mix with the legendary Lexicon 224 Digital Reverb, using the same algorithms as the original hardware

  • Employ eight classic reverb programs and one chorus program on drums, vocals, guitars, and more

  • Use the Plate and Concert programs for vintage '80s sounds

  • Mix with presets from famous Lexicon 224 users Chuck Zwicky (Prince), Kevin Killen (Peter Gabriel), and others


 


You can also try a demo for 14 days to see if you like it first..


 


 


Web-Link:


Golden Age Audio announces availability of Pre-73 MKIV

Posted: 15-Aug-23

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Studio hardware and microphones maker Golden Age Audio is proud to announce availability of Pre-73 MKIV — angled as the latest and greatest update to its best-selling ’73-style preamp series, spiritually bringing back to life the musically warm, punchy, and sweet sound of classic British consoles, adding tone and colour to microphone favourites or keeping things clean while also doubling as a line-level preamp and DI (Direct Inject) box for electric guitar and bass — as of August 15…


As a versatile, colourful, and affordable British-style mic preamp and DI box, Golden Age Audio’s Pre-73 MKIV allows its users to achieve vintage colour and punch by cranking up the GAIN knob without fear; after all, a dedicated OUTPUT control allows attenuation of the signal, so it is perfectly possible to drive the preamp without overloading any associated audio interface inputs. It is also possible to engage the -14dB OUTPUT PAD for even more control of hot signals, or keep things clean and transparent by backing off on the GAIN and turning up the OUTPUT. On top of that, further tone-sculpting capabilities come courtesy of the selectable LOW-Z low-pass filter to eliminate unwanted low-end rumble at the source, and/or using the selectable — 3dB/6dB — AIR EQ to add some shimmer and presence to the top-end. Toggle between 1200Ω or 300Ω resistance using the LOW-Z to hear how connected mics react!


Connecting condenser and dynamic microphones is not a problem, thanks to Pre-73 MKIV’s switchable +48V mic input, while its 80 db of GAIN make it ideal for use with sensitive ribbon microphones on delicate sound sources. Sensibly, LINE- and instrument-level inputs allow for further connection to almost any audio source, and a rear panel-positioned INSERT jack is provided for using external processors like EQs and compressors. Choosing from TRS or XLR OUT (output) options is, of course, a given.


True to the classic preamps of yesteryear, Pre-73 MKIV was designed with a focused attention to component choices and build quality not found in other preamps near the same price. Put it this way: no surface-mount components or integrated circuits are used, and all inputs and outputs are transformer-balanced affairs using two different purpose-optimised transformers. Indeed, its external power supply eliminates the risk of self-noise, and its metal half-rack chassis is both portable and sturdy.


Saying all that, then, getting classic console tone and getting the most out of anyone’s mic locker is what Pre-73 MKIV is all about — and all keenly priced to go!



Pre-73 MKIV is shipping and available at an MAP (Minimum Advertised Price) of $349.00 USD — RAD Distribution acts as exclusive North American distributor for Golden Age Audio products (https://raddist.com/en/brands/golden-age-audio) — and an SRP (Suggested Retail Price) of €374.00 EUR — including VAT (Value Added Tax) — in the EU (European Union).


For more in-depth info, please visit the dedicated Pre-73 MKIV webpage here: https://www.goldenageproject.com/outboard-hardware/preamps/pre-73-mk-iv


 


About Golden Age Audio (www.goldenageproject.com)
Golden Age Audio effectively established itself as a groundbreaking company — called Golden Age Project, previously — by bringing its first Neve preamp ‘clone’ to market back in 2009; today it is recognised within the music industry at large for its complete line of outboard offerings alongside condenser and dynamic microphones based on classic designs delivered at a consumer-friendly price point.


Web-Link:


IK Multimedia Releases UNO Synth PRO X

Posted: 06-Aug-23

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IK Multimedia releases UNO Synth PRO X, a powerful analog synthesizer that invites its user to embark on a liberating sonic adventure, exploring a world of infinite possibilities where technology meets the timeless allure of analog warmth.

From offering exciting new sounds to becoming the centerpiece of more complex rigs, UNO Synth PRO X represents the sweet spot between an expandable and versatile analog sound engine, hands-on controls, portability and price, making it the perfect choice for seriously fun sound design anywhere.

From Classic to Brand-new Sounds
Inside UNO Synth PRO X, users will discover a unique analog sound engine that they can sculpt to be anything they desire. With a fresh layout, the new UNO Synth PRO X gives players immediate control over its dual-filter, 3-oscillator paraphonic design, 256 presets, 64-step sequencer and much more.

To add more color to the sound, there's a warm and organic true-analog overdrive, plus 10 studio-quality effects (including a new shimmer reverb and uni-vibe-like modulations) in three simultaneous slots: modulation, delay and reverb.

External signals can be routed through the filters and the effects in addition to UNO's original thru-put for daisy-chaining multiple units together without using a mixer.

More Ways to Play and Perform
UNO Synth PRO X offers a 64-step paraphonic sequencer with parameter automation including CV and Gate. It has step and real-time recording with a sequence randomizer (following the scale selected) to create intricate and evolving soundscapes. UNO Synth PRO X also features a 10-mode arpeggiator with pattern designer.

In addition to legato, mono and paraphonic modes, users will find a new Bassline mode which modifies the behavior and interaction between core parts of the synth like the filter and envelopes in exciting and inspiring ways.

Comprehensive, Easy-to-use Controls
UNO Synth PRO X offers the simplicity and familiarity of classic synths with added modern control elements. It provides over 30 hands-on controls plus a 16-slot modulation matrix. Users can easily design the most sophisticated modulation scheme with both internal and external sources including MIDI controllers.

UNO Synth PRO X stores 256 user-editable presets, each capturing the full state of the sound engine from oscillators to effects. Presets can be further managed with the included Editor/Librarian. The Editor works as both a standalone application and as a plug-in inside a DAW allowing users to program and play the UNO Synth PRO X just like a virtual instrument.

Connectivity includes USB-C and 5-pin DIN MIDI In and Out making it easy to integrate with other synths and Mac/PC, while assignable CV/Gate connections let UNO Synth PRO X interact effortlessly with Eurorack or other modular systems.

The Sonic Sidekick
Compact and weighing less than a kilo, UNO Synth PRO X is the ideal traveling companion. It can be powered via USB-C and includes a standard power supply unit with barrel for the power-in jack. It has a dedicated 1/8" stereo headphone out as well as balanced stereo outputs for superior audio quality in any situation, whether on a plane or on stage.

No other synth in such a portable format places this amount of sound design tools at one's fingertips. UNO Synth PRO X truly frees users to create the sounds they seek, whether emulating classic analog synths or shaping new unique sounds all their own.

Options, Pricing and Availability
UNO Synth PRO X is available now from the IK Multimedia online store and from IK authorized dealers worldwide for $/€499.99.*

*Pricing excludes taxes


Web-Link:
Web-Link:


InMusic Announce AIR Sprite A Multi Effects Plugin That Goes Beyond Audio Magic

Posted: 01-Aug-23

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AIR Music Technology announce AIR Sprite, a modern take on the studio hardware staple of the 80s and 90s – the multi-effects processor. Sprite does things not possible in a hardware unit. Even better, Sprite is a plugin that is as simple, or as complex as the user desires. Make synths shine, bring guitars to life, and sprinkle audio fairy dust on vocals. The simple user interface gives fast control of every element, offering sound shaping of effects in seconds, but this is just the start.

 

AIR Sprite – At A Glance



  • Powerful multi-FX processor for a massive range of breathtaking, unique sounds.

  • Stunning user interface with intuitive macros page for immediate control of key parameters.

  • Massive range of ready-to-use presets, organised into categories for instant gratification.

  • Distortion section featuring nine distortion models with smoothing, hi/lo pass filtering and mix control.

  • Two modulation slots with eight classic modulation types. Choose between Flutter, Wow, Tremolo and Auto-pan in one slot, with rate, drift, stereo and depth controls as appropriate.

  • In the second slot, choose between Chorus, Multi-chorus, Phaser and Flanger with rate, depth, feedback, depth and mix controls as appropriate.

  • Dedicated and incredibly powerful delay and reverb section.

  • BPM syncable delay engine with Single, Dual and Cross modes, independent left and right time controls, feedback level and 24 feedback setups, width and mix control.

  • Reverb with eight distinct room characters, pre-delay, damp, time and volume controls.

  • Pitch-shifter with adjustable depth, assignable mix target, interval and algorithm.

  • EQ section with high and low cut and shelving controls.

  • Compressor section with assignable routing, attack, release and depth controls.

  • Width and balance controls.

  • Dedicated output EQ section featuring 31 character presets, plus a manual mode for detailed shaping of low, mid and high frequency content.

  • Envelope follower to automatically control delay feedback and delay & reverb mix based on incoming audio levels.

  • Final width, gain and limiter controls.


 


 


 

 


AIR Sprite – In Depth


Unlike many ‘magic’ or ‘single control’ plugins, the user has access to the ‘secret sauce’ behind the sound, allowing them to go deeper and craft the effects to audio perfection.

 

AIR Sprite’s powerful edit mode allows the user to shape every part of the multi-effects just how they want. There’s enough control to take the distortion from a little added warmth to extreme breakup and multiple ways to modulate the sound taking it from a gentle movement to a sweeping jet flanger. Delay offers everything from super clean to gnarly tape, and reverb can sit the effects in anything from a tiny room to a huge stadium. Add EQ, compression and pitch shift and Sprite is the ultimate sound design effects toolkit where originality is the name of the game.

 

Sprite is perfect for both music production enthusiasts and professionals, think of Sprite as your springboard to sonic nirvana, only limited by your desire to explore. With Sprite your perfect sound is just a few adjustments away.

 

Formats


MacOS: AU, VST, VST3, AAX
Windows: VST, VST3, AAX

 

 

Availability



 


Web-Link:
Web-Link:


Slate Digital Unveils New Web-Based Assisted Mastering Service ‘VIRTU’

Posted: 30-Jul-23

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Slate Digital is thrilled to unveil VIRTU™, a brand new web-based assisted mastering service available exclusively to All Access Pass members. Combined with beloved tools like Virtual Tape Machines, Virtual Buss Compressors, Virtual Mix Rack, and the recently released FG-X 2, VIRTU makes the All Access Pass a one-stop mixing and mastering shop for users of all experience levels.



 


VIRTU gives your mixes the clarity, space, and depth they need to compete with your favorite chart-topping hits. With the help of curated Style profiles and easy-to-use Advanced Controls, VIRTU takes the guesswork out of mastering. Just upload your mix, select the style that best fits your track, and pick your loudness target. You also have the option to adjust some more advanced controls, like the frequency balance, compression and stereo width of your master.


 



 


Once you’re happy with your selections, click ‘Master’ to process the entire track. Then, all that’s left to do is download your mastered song from the library, where it will stay for 30 days. These masters can be confidently distributed to streaming platforms like Spotify and Apple Music, are perfect for testing in clubs or other live settings, and make excellent references for professional mastering engineers.


"VIRTU Assisted Mastering is an exciting release for this company," said Slate Digital CEO John Bastianelli. "Not only is it another excellent addition to our already feature-packed subscription package, but it's also a step forward into new territory. VIRTU makes the All Access Pass the only tool you need to record, mix and master your music from start to finish. We're excited to keep evolving the scope of our product offerings, and we can't wait to see how VIRTU helps our users along their creative journey."


Based on the Slate Digital processing and expertise you trust for recording and mixing your projects, VIRTU’s step-by-step process makes it easy for anyone to achieve a polished, professional master.


 


Availability


VIRTU™ is available exclusively as part of the All Access Pass. Not a member? Join or start your free 30-day trial today to experience VIRTU and the rest of our full plugin suite, plus professional mix templates, over 20 GB of boutique samples, and hours upon hours of educational content in Slate Academy.

All Access Pass members get three free mastering credits per month, with additional credits available for purchase at $2.99 each. 30-day trial users will also receive three complimentary mastering credits, as well as the ability to purchase additional credits. Additionally, anyone who joins the All Access Pass and logs into VIRTU before August 26th will double their masters, receiving six total mastering credits in their account at no extra cost.


 


About Slate Digital


Slate Digital, part of the Audiotonix family of brands, is a music production software company based in Los Angeles, California, USA, and Grenoble, France. Slate Digital has built its reputation on highly accurate digital reproductions of some of the finest pieces of analog hardware ever introduced to the audio world. Today, we’re a team of passionate developers, producers and artists who take pride in delivering innovative musicking tools for creators of all styles, genres and experience levels.


Web-Link:
Web-Link:


Solid State Logic Launches G3 MultiBusComp Plug-In

Posted: 30-Jul-23

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The SSL G3 MultiBusComp is a must-have tool for any audio professional looking to achieve the SSL sound in their mixes, delivering the classic SSL "glue" compression sound across 3 independently configurable frequency bands.


With powerful sidechaining features, intuitive feedback and per-band harmonic drive options, the G3 MultiBusComp is the perfect solution for achieving polished and professional mixes and masters that has made SSL the industry standard for decades.


G3 MultiBusComp's advanced parameter linking saves you time and effort, by allowing you to automatically apply inverse changes between selected parameters – hold down the shift key while changing the input/output gain or the threshold and makeup gains in each band. With automatically gain-compensated per-band drive inspired by SSL’s '4K’ drive circuit, you can add character and warmth to specific frequencies all while maintaining full dynamic control.


 



  •  3 bands of classic SSL "glue" compression.

  •  Per-band '4K' drive harmonic control for adding warmth and character.

  •  Powerful per-band sidechaining routing and processing.

  •  Parameter linking.

  •  Band graph view.

  •  High-Quality mode.

  •  And so much more...


 


The band graph view allows you to set your threshold and frequency crossovers with ease, and the sidechaining and filtering options allow you to create custom sidechain filters that are unlinked from the band crossovers, accentuating or diminishing the response to certain frequencies using the per-band bell filter, or driving the dynamics from a different frequency band or external signal.


The G3 MultiBusComp's auditioning features offer mutually exclusive soloing on each band and each band's sidechain input, allowing you to hear each band in isolation and make informed decisions about your mix. And with a resizable GUI that can be adjusted from 50% to 200%, the G3 MultiBusComp provides a comfortable user experience that can be customized to your specific needs.


G3 MultiBusComp is available now as part of SSL Complete, starting from $14.99 per month (T&Cs apply), SSL Rent To Own plan, and full perpetual purchase – it's your choice.


We've just reset SSL Complete trials for everyone. Jump over to the product page to demo the new G3 MultiBusComp. If you haven't already tried SSL Complete free for 30 days, come check it out!


Web-Link:


PulseSetter-Sounds ships HANDPAN : MACHINA, multi-sampled KONTAKT instrument

Posted: 25-Jul-23

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PulseSetter-Sounds is proud to announce availability of HANDPAN : MACHINA — multi-sampled Halos injected with the cinematic sound design company’s distinctive brand of creative modern processing to produce otherworldly pads, drones, plucks, and loops shaping up as its most powerful KONTAKT instrument yet, one which involved closely collaborating with award-winning film and television composer Greg Tripi to combine his unique Halo playing and style with a modern hybrid approach to virtual instrument-making, duly designed by composers for composers as a highly-capable and complex tool hiding behind a simple GUI (Graphical User Interface) that truly inspires, its bird’s eye view of all effects and controls creating a simple approach to working with several types of sounds that can easily be mixed and matched with effects and sequences to even go as far as producing full music cues in one pass owing to its extensive flexibility and content — as of July 25…


It is fair to say from the outset that HANDPAN : MACHINA is far from a typical multi-sampled hand pan KONTAKT instrument. But before digging deeper into what, exactly, it is and does, it is worth looking back, briefly, at the origins of its source samples before putting them into their rightful context. History has it that a Halo is the original American hand pan — itself a term for a group of musical instruments that are classified as a subset of the steel pan. As a circular piece of steel with circular indentations in it that — once shaped — looks more like a UFO (Unidentified Flying Object) than a musical instrument, its soft, yet highly-energetic, ethereal sound combined with its simple playing method are beloved by both experienced musicians and novices alike. An American company called Pantheon Steel, founded in 2004 by expert steel pan-maker and accomplished tuner Kyle Cox, can be credited — with significant contributions from fellow artisans along the way — with creating the Halo that to this day rightfully represents its flagship instrument.


It is little wonder, then, that award-winning film and television composer Greg Tripi — truly talented as a multi-instrumentalist and synthesist based out of Los Angeles, California — got turned on to the Halo in a never-ending quest for new sounds and inspiration in pursuit of his chosen craft. Composing credits for television include The Fix (ABC), Manhunt: Unabomber (Discovery/Netflix), and The Knick (Cinemax), collaborating with well-known American film composer Cliff Martinez on the latter. Meanwhile, motion pictures benefitting from his musical input include Ma, Drive, Contagion, Rememory, Dark Places, and Hotel Artemis, while he has also worked on a number of Academy Award- and Emmy Award-winning independent films, as well as video games and commercials.


Duly designed by composers for composers as a highly-capable and complex tool hiding behind a simple GUI that truly inspires, it is little wonder, too, that PulseSetter-Sounds closely collaborated with top-tier industry player Greg Tripi to combine his unique Halo playing and style with a modern hybrid approach to virtual instrument-making. As a result, HANDPAN : MACHINA is effectively a combination of natural and sound design elements with PulseSetter-Sounds carefully crafting no fewer than 342 cinematic loops and pulses from the most pristine Halos available. Indeed, it is far from a typical multi-sampled hand pan KONTAKT instrument, instead seamlessly combining those multi-sampled Halos and loops with the cinematic sound design company’s distinctive brand of creative modern processing to produce otherworldly pads, drones, plucks, and loops, shaped as its most powerful KONTAKT instrument to date.


Dual XY pad environments are central to the KONTAKT instrument in question’s powerful GUI; the left one for performing and automating four layers of samples capable of combining loops and multi-sampled instruments — themselves the result of Greg Tripi going above and beyond the call of duty with his Halos, while the right one is dedicated exclusively to controlling custom mixes of several effects, so users can perform full cues in real time while recording or automating almost anything. It is worth noting here that there is an independent effects sequencer for each layer’s LFO (Low Frequency Oscillator), ENV (envelope), FILTER, DIST (distortion), EQ (equalisation), and DELAY, as well as four advanced sequencers with three modes — namely, Chord (plays chords that repeat), Arpeggiator (plays one note at a time), and Sequencer (whereby each step can be set to a specific note). Out of the box, HANDPAN : MACHINA is a powerful KONTAKT instrument with 15.80GB of content and 12 menu instruments ready to be used. Ultimately, however, it offers more experienced users a deep and versatile programming experience, with hundreds of options and much in the way of control, covering synth-like capabilities — like LFOs and envelopes, for instance.


It is also fair to say, though, that HANDPAN : MACHINA can conceivably be thought of as a live performance instrument — route its XY pads to a MIDI (Musical Instrument Digital Interface) controller, and it feels like a living machine. Musically speaking, this is incredibly useful when composing to picture, allowing users to perform in real time and save a lot of time while doing so. It is often observed that deadlines are your friend, but — on the strength of HANDPAN : MACHINA alone — PulseSetter-Sounds is friendlier!


For example, HANDPAN : MACHINA’s performance matrix makes it easy to control and manipulate those four layers of samples capable of combining loops and multi-sampled instruments since users can see all the layers with their parameters, effects, modulation, and effect sequencers in the same window for quick access, while it is also possible to edit the parameters for all the — SPACE and COLOR — macro effects, the master — FILTER, EQ, COMP (compressor), DELAY, VERB (reverb), LIMITER, and MASTER FILTER — effects, and the four sequencers.


Saying all that, then, HANDPAN : MACHINA is not simply a typical yoga class-sounding Halo. Having had a lot of fun processing the hell out of the loops and multi-sampled instruments involved in its creation, HANDPAN : MACHINA rather represents the musical manifestation of PulseSetter-Sounds duly designing it with the working composer in mind, allowing them to quickly lay out cues when needed using its carefully curated instruments or dive deeper into its programming capabilities to create custom instruments that contain all available instruments in the sample library itself. It is finally fair to say that with so much material and modulation possibilities to play with, serious users would need to spend some serious time to fully explore HANDPAN : MACHINA as a highly-capable music production tool — one which is worthy of taking the cinematic production company concerned’s notable name to the next level in KONTAKT instruments designed by composers for composers.



HANDPAN : MACHINA can be purchased as a 15.80 GB (9.17GB compressed) KONTAKT instrument for a time-limited introductory promo price of $69.99 USD — rising thereafter to its regular price of $99.99 USD — via its dedicated webpage, which also includes more in-depth information (including some superb-sounding audio demos), here: https://www.pulsesetter-sounds.com/product/handpan-machina/ (Note that HANDPAN : MACHINA requires the full version — 5.8 or above — of KONTAKT, Native Instruments’ advanced flagship instrument platform for macOS and Windows.)


 


HANDPAN : MACHINA in action in PulseSetter-Sounds’ contextual walkthrough video 



 


 


PulseSetter-Sounds’ tantalising trailer video for HANDPAN : MACHINA



 



About PulseSetter-Sounds (www.pulsesetter-sounds.com)



PulseSetter-Sounds is a cinematic sound design company, creating sound sets, loops, and sample-based products for film and video game composers, owned by award-winning composers Freddy Sheinfeld and Guillermo Silberstein. As a group of media music producers and sound designers living in Los Angeles, the company clearly knows that a strong theme tune helps tell the story and evolve emotions in a film score. Since they are also huge sci-fi-fi — yes, you read that right! — fans, the company collectively created its own ‘PulseSetter theme’ based on a futuristic dystopian-cyberpunk character who lives in one of several megacities where people have huddled together after several world wars; mixing new and old tech, this anti-hero lives for music and sounds in a world more into overthrowing the megacity overlord. Obviously this theme helps PulseSetter-Sounds propel its own sound story into hybrid and new sonic territories.


Web-Link:


IK Multimedia Releases TONEX Tone Partner Collections

Posted: 20-Jul-23

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IK Multimedia releases new TONEX Tone Partner Collections with over 100 collections on offer now representing nearly 2,000 new Tone Models to play and record across the entire TONEX ecosystem including TONEX Pedal, and bringing the total of available Tone Models on ToneNET to over 15,000.

Tone Models are IK's ultra-accurate AI Machine Modeling™ recreations of iconic guitar amps and effects, connecting users to an endless stream of the most sought-after guitar gear, captured by today's top tone designers and fellow users.

All Tone Partners have been chosen for the gear they own and their expertise in creating and capturing great tones. Here is the list of select Tone Partners who have joined the TONEX ecosystem for the launch with their premium collections:

Amalgam Audio, Big Hairy Guitars, ChopTones, Dan Leggatt, Drum And Tones, Gitarrenlehreronline, IP Sound, Jason Sadites, Keith Merrow, Live Ready Sound, Mad Steex, Matt Fig, Rattly And Raw, Sonic Drive Studio, Taylor Danley, The Studio Rats, Tone Junkie, Top Jimi, TSFAHTPS.



Just the Beginning
Tone Partners are active creators who will regularly add new collections to the store with even more collections becoming available as new Tone Partners come onboard. Covering all styles and genres of music, Tone Partner Collections are an exclusive and affordable way to quickly expand any player's tone toolkit.



A Sonic Well of Inspiration
Each collection is meticulously captured to each Tone Partner's specifications with their preferred settings, mics, outboard gear and cabinets using TONEX's award-winning AI Machine Modeling technology. Users will find incredibly realistic captures of amps from vintage to boutique to modern high-gain, plus classic and modified preamps, pedals and everything in between. Many collections also offer amp-only DI captures so users can add their favorite cabinet IRs or IK's VIR Cab technology.



Free Trials and Tone Models
Users can demo any Tone Partner Collection before purchasing. Furthermore, over 100 new free Tone Models from these collections are available to all TONEX hardware or software users to download for free and use just like any TONEX Tone Model to record, play or practice.



Instant Access
Tone Partner Collections can be browsed and purchased via ToneNET, IK's online tone-sharing and social platform, or within any version of TONEX Mac/PC including the free TONEX CS. After purchase, Tone Partner Collections become activated inside TONEX software by selecting "Restore Purchases" in the Account panel, which instantly downloads all collection Tone Models to the user's local library ready to play.



For AmpliTube Too
Tone Partner Tone Models work seamlessly inside AmpliTube 5. The TONEX amplifier and pedal gear models function just like other AmpliTube amps and pedals. They can be used together to build custom signal chains and save as presets for easy recall. The combination of TONEX and AmpliTube 5 represents the most advanced tone powerhouse on the planet today.

Best of all, AmpliTube 5 presets created using Tone Models can now be uploaded to ToneNET's preset sharing section. Tone Partners and users alike can combine their favorite Tone Models with all of AmpliTube 5's hundreds of stompboxes, cabs, mics, rack FX and more to craft complete rigs and share them with their fellow users around the world.



Pricing and Availability


TONEX Tone Partner Collections are available now to browse and purchase via ToneNET and within any version of TONEX for Mac/PC starting at just $/€6.99.*

For more information about TONEX Tone Partner Collections and to hear the tones, please visit:

www.tone.net/tonex/partners
www.tone.net/tonex/collections


Web-Link:
Web-Link:


Applied Acoustics Systems releases Ice Crystals sound pack for Chromaphone 3 & AAS Player

Posted: 12-Jul-23


With Ice Crystals, his first sound pack with AAS, Dutch sound designer Richard Veenstra unleashes an immersive collection of expressive abstract sounds perfectly tailored for those seeking to add intricate sound layers that captivate the senses. Ice Crystals transports you through a sonic labyrinth, where icy bells resonate with crystalline clarity, digital detuned pads weave a tapestry of ethereal melodies, and bright deep basses provide a foundation that reverberates with intensity. Ignite your creative spark with the pack's complex rhythms that elevates your compositions to new heights. Whether you're a connoisseur of intelligent dance music, a crispy techno enthusiast, or a creator of deep and dark cinematic soundscapes, Ice Crystals will infuse your music with unparalleled richness and depth. Take your music to a new dimension, where artistry meets innovation and boundless possibilities await.


 


Product Details


The Ice Crystals sound pack is available now as an instant download delivery package. Ice Crystals works with both the Chromaphone 3 plug-in (sold separately) and the included AAS Player plug-in.


Ice Crystals—Richard Veenstra sound pack for Chromaphone 3 and AAS Player


https://www.applied-acoustics.com/ice-crystals/


AAS plug-ins run on both Windows and Mac OS and support the VST, Audio Units, AAX Native, RTAS, and NKS plug-in formats.


 


50% Off Summer Sale


To mark the release of Ice Crystals, everything Chromaphone 3 is 50% off until August 28, 2023 and includes this new pack. The introductory prices are as follows:



  • The Ice Crystals sound pack US$19.

  • The Chromaphone 3 plug-in + ICE CRYSTALS bundle US$99.

  • The Chromaphone 3  +PACKS bundle US$199.

  • The Chromaphone 3 Upgrade for Chromaphone 2 users + ICE CRYSTALS bundle US$39.

  • All Chromaphone 3 sound packs US$19 each.

  •  


Chromaphone 3 +PACKS bundles the Chromaphone 3 plug-in, the new Ice Crystals sound pack, and 17 expansion sound packs.


This release also coincides with the AAS Summer sale during which we are offering up to 50% discount on all orders from the AAS web store. Visit the AAS Summer Sale promotion page below to get all the details.


 


AAS Summer Sale


https://www.applied-acoustics.com/promo/



About Applied Acoustics Systems


Applied Acoustics Systems (AAS) was founded in 1998 and is based in Montreal, Quebec, Canada. As a privately-held company, it specializes in software-based synthesis tools for professional musicians and sound designers. Since releasing Tassman, the first virtual instrument based on physical modeling, AAS has come to be recognized as the industry leader in this exciting new field of synthesis.


Web-Link:
Web-Link:


Heritage Audio announce availability of the TUBESESSOR

Posted: 29-Nov-22

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Heritage Audio is proud to announce availability of the TUBESESSOR — the European pro audio manufacturer’s take on an optical tube compressor specializing in recording delicate, critical signals where it is essential to retain all the individual character and emotion while offering natural, transparent control; time and money need no longer be wasted searching for an overly priced unit in a questionable state of operation since it is now possible to obtain that famous sound, and much more, with a brand-new piece providing problem-free, heavy-duty use for future-proofing many years of music-making history as a new design that vastly increases headroom and improves clarity while also allowing access to a whole new range of sound and textures — as of November 15…


 



 


It is fair to say that optical tube compressors have always been the choice of seasoned engineers and producers when it comes to recording critical, delicate signals such as voice and bass where it is essential to retain all the individual character and emotion while offering natural, transparent dynamic control. Clearly, a classic optical tube compressor is still a prized possession after all these years, but searching for original units that are overly priced and almost always in a questionable state of operation need no longer be the only option available to those chasing that sought-after sound since there is now a viable alternative; the TUBESESSOR truly represents Heritage Audio’s 21st-century take on that classic design.


As a unique design manufactured in the EU with only top-of-the-line components and custom transformers at the input and output stages, as well as NOS tubes operating at an extremely high internal voltage to ensure a clarity, depth, and headroom previously unheard of, not only is the TUBESESSOR perfectly suited to warming up and even subtly enhancing a signal while maintaining total dynamic control, it also has a few tricks tucked neatly into its 3U rackmount chassis.


Cue TUBESESSOR’s all-new TUBE SATURATION section, with settings ranging from CLASSIC (no saturation at all) through to HOT (angry-sounding tone), with self-explanatory MILD and MEDIUM switchable in-between. Indeed, this section takes full advantage of a creamy-sounding NOS Raytheon double triode tube to add a pinch of aggression or fully transform the signal into something ready for war! Importantly, it works in tandem with the custom output transformer to produce the right harmonic content.


Thankfully, Heritage Audio has also opted to include its innovative and notable SC FILTER section to widen the scope of control still further, with five internal side-chain settings available. The first two settings (80 and 160) ensure that the compressor is not being unduly overpowered by lower frequencies while the next three (1K, 3K and 5K) are frequency-specific, selectable for extra creativity.


Continuously adjustable ATTACK and RELEASE controls are available when the ATTACK/RELEASE SELECT mode is set to MANUAL or in combination with FIXED settings when set to FIX/MANUAL, making it possible for users to musically mold their signal to suit.


Speaking of which, a large and attractive VU (Volume Unit) meter makes light work of monitoring either IN (input), GR (gain reduction), and OUT (output) to ensure that users are always informed with a clear reading of exactly what is happening. Working well with the TUBESESSOR’s large, inviting controls, it is always a sheer pleasure to use.


However, there are also other notable front panel-positioned features well worth mentioning, including GAIN (up to +30 dB of makeup gain); RATIO (continuously variable from 2:1 to 10:1); LINK (stereo operation); and BYPASS (true bypass of the circuitry) — not forgetting, of course, the vintage-looking red jewel light (simply indicates that the unit is switched on).


On the face of it, then, the TUBESESSOR provides everything anyone could conceivably ask of an optical tube compressor to achieve a top-tier professional recording — right down to its rear panel even allowing for convenient user replacement of the NOS Raytheon CK5755 (double triode) and audiophile-grade Psvane 12BH7A (double triode) tubes without needing to open the unit! Ultimately, it is clearly much more flexible than any alternative out there — the one to turn to for the sweetest, warmest, and most natural-sounding dynamic control possible, but with an ability to spice things up on occasion.


Of course, Heritage Audio has sourced NOS tubes to last a lifetime so those taking the TUBESESSOR plunge — purchasing this truly 21st-century take on a long-time favorite — are assured that their investment is safe and sound, set to provide problem-free, heavy-duty use for future-proofing many years of music-making history.



The TUBESESSOR is shipping and available via Heritage Audio’s growing global network of dealers (https://heritageaudio.net/where-to-buy-international/) with an SSP (Standalone Selling Price) of €2,999.00 EUR (including VAT) in the EU, respectively and a MAP (Minimum Advertised Price) of $2,499.00 USD, US distribution being handled via RAD Distribution (http://www.raddist.com/heritage-audio.php).


 


About Heritage Audio (www.heritageaudio.net)
Heritage Audio was founded in 2011 by Peter Rodriguez. As a civil engineer and music producer, he went from building wind turbines to following his true passion — developing recording equipment with the vintage sound that he himself admired so much and so many others yearned for. Fortunately for all, he was able to master the key elements necessary to make high-quality recording gear affordable and reliable by combining his analytical mindset with his experience as a producer within a relatively short space of time. Today, the 15-person team has expanded its production plant located in the heart of Madrid, Spain, where it collectively continues to follow a philosophy of making vintage sound possible for today’s studios, successfully introducing innovative products to rank amongst the most popular brands with top retailers throughout the world.


Web-Link:


United Plugins announce availability of MasterMind mastering plug-in

Posted: 27-Nov-22

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United Plugins is proud to announce availability of the MasterMind mastering plug-in as its latest release from founding partner SounDevice Digital — duly designed as the fastest route from any mix to mastered destination by taking care of most tasks automatically, allowing anyone to optimise the track being worked on within a matter of seconds, match that track’s EQ with a reference track, and boost the master gain to make the resulting signal sound louder and better… or, better put, simply sound right — as of November 1...


It is fair to say that mastering is sometimes seen as a dark art of sorts when it comes to finalising the record production process. Put it this way: while mastering makes a great recording truly shine forth for all to hear, that is arguably an overly simplistic statement when taken at face value; after all, what constitutes a genuinely great recording at an artistic level is surely in the ear of the beholder? But what about at a truly technical level? Cost constraints aside, that is arguably a double-barrelled question of (technology available at any given) time and taste. That said, one thing is for sure, though: thanks to an always-widening array of mind-boggling and ear-bending analogue and digital technologies, the mastering process is far from simple.


SounDevice Digital’s MasterMind mastering plug-in makes this far-from-simple art so much easier by taking care of most tasks automatically. As such, its OPTIMIZE functionality beats strongly at its helpful heart. Having spent some considerable time researching masses of mastered material, SounDevice Digital developed a specialised algorithm to make the resulting signal sound richer and better, both from an audio and psychoacoustic standpoint. Simply put, it sounds right. Turning the plug-in’s onscreen optimizer (%) knob controls how much of that specialised algorithm process is instantly and intelligently applied.


It is also fair to say that stereo feel and spatial perception are integral to achieving an accomplished mastered sound, so MasterMind makes it perfectly possible for its users to do just that with one onscreen knob — namely, the self-explanatory stereo width (%) one, which controls the signal-widening level with selectable settings ranging from -100 to +100.


MasterMind’s MATCH functionality facilitates fast-tracking a perfect-sounding EQ-matching application, allowing users to control the level of matching the feel of their favourite reference tracks or, alternatively, unifying the sound of the tracks on their own record production with a few quick clicks — literally load some source material, loop-play it to analyze, then analyze their own material (your track) to enable MasterMind to perform its mindful mastering magic. It is worth noting that setting the onscreen match (%) knob to settings somewhere between 20-30% tends to produce the best results due to the differences between the source and your track material being analysed.


And speaking of equalisation, MasterMind’s EQ section facilitates fine-tuning both the high shelf — freq (kHz) — and low shelf — freq (Hz) — EQ curves of the track being processed in conjunction with their associated gain (dB) controls. By being based on an American analogue equaliser’s much-lauded mode, it also provides users with the option of applying some nice-sounding tube saturation, courtesy of the easy-to-use eq tube (%) knob. Thanks to its high-quality audio engine employing up to 16x oversampling, MasterMind makes mindful mastering possible, providing the maximum precision needed to succeed in its musical mission — including, of course, warm-sounding analogue-style saturation without digital artefacts.


Meanwhile, MasterMind’s LIMITER section makes mixes sound strong, standing out from the sound of the (mastered) crowd courtesy of a saturation (%) control, which can make the signal sound louder and smoother from a psychoacoustic standpoint, working with self-explanatory gain (dB) and threshold (dB) controls, as well as out ceiling (dB) — controls the sign level after the LIMITER section, thereby determining the plug-in’s maximum reachable level.


Last, but by no means least, MasterMind’s analysis section provides a perfect visual overview of the three stages of its user’s signal so they can not only easily monitor the input and output but also the signal stage between the EQ and limiter, helping them to add even more precision to finalising the record production process.


Photorealism has been applied to the MasterMind plug-in’s gorgeous GUI (Graphical User Interface), imbuing its users with a feeling that they are touching real-world hardware. However, it easily adapts to their needs since they can always drag the arrow at the bottom-right corner to change its size — smaller to save precious ‘screen estate’ or larger to make it easier on the eye and, as a result, easier to use.


Ultimately, MasterMind provides maximum audio quality by using internal 64-bit audio processing as well as being able to handle any sampling rate — as, indeed, is the case with all plug-ins released under the United Plugins umbrella, so why not try it at 192 kHz… or even higher! Helpfully, the MasterMind plug-in intelligently detects whether it makes sense to perform any processing at all — if not, it temporarily turns on sleep mode, meaning it requires virtually no CPU (Central Processing Unit) power at all, thereby saving computing resources for other processes. Mindful mastering magic abounds otherwise, of course, so feel free to take the fastest route from any mix to mastered destination with its outstanding OPTIMIZE and (EQ) MATCH functionality.



SounDevice Digital’s MasterMind is available to purchase for a time-limited introductory promo price of only €29 EUR until the end of November 2022 — rising thereafter to its regular price of €129.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from United Plugins here: https://unitedplugins.com/MasterMind/ (A 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10 can be downloaded for free from here: https://unitedplugins.com/download/)


Note that no iLok, dongle, or internet access is required for MasterMind activation. (All United Plugins software uses license files for activation and owners can freely use purchased software on all their computers as long as they are the user.)


 



 


 


About United Plugins (www.unitedplugins.com)
As implied in the carefully chosen wording for an apt appellation that really represents how the Prague-registered Limited Company came about and what it collectively creates, United Plugins is a federation of small, independent development teams comprised of individuals involved in the music industry. Indeed, the founding triad of FireSonic, JMG Sound, and SounDevice Digital can count engineers, producers, and artists amongst their ‘united’ names. Needless to say, all were seeking the freedom to create the tools that they would like to use in their studios and on their projects. And all agreed that this could be better achieved when working together. Though United Plugins’ proliferating product portfolio may not always be for the musical masses, surely someone, somewhere will always find those tools to be a perfect fit for their own music productions... just like those inventive individuals behind United Plugins’ partner brands, the ranks of which have since swelled to include Muramasa Audio and MeldaProduction. Thanks to the latter letting United Plugins utilise its super-easy licensing system, which is why selected MeldaProduction products are also available from the United Plugins website, a thriving future for the federation is assured.


Web-Link:
Web-Link:


Black Lion Audio announces availability of Auteur DT

Posted: 16-Nov-22

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Black Lion Audio is proud to announce availability of its Auteur DT — designed as a robustly-built, versatile preamp/DI box to suit anyone’s single-channel recording needs by bringing Black Lion Audio’s acclaimed Chicago-style solid-state console detail, warmth, and dimension to the desktop, with anything plugged into it simply sounding better coming out of it — as of November 16…


Thanks to the front panel-positioned large, easy-grip control knob putting 60dB of Chicago console-style gain within easy reach alongside a 1/4” input, together with a rear-panel-positioned XLR MIC INPUT, Auteur DT will accurately capture and enhance anything anyone throws at it — from the crackling snap of a well-tuned snare to the thunder, resonance, and decay of a Seventies acrylic kick drum getting hit hard! How about adding heat and texture to synths and mix-penetrating presence to vocals? It is fair to say that anything anyone plugs into Auteur DT will simply sound better coming out of it. Effectively existing to capture every bit of sweat equity that goes into making its user’s recordings what they deserve to be should surely come as little surprise since bringing out the fully polished potential of final product provides inspiration for everything Black Lion Audio makes.


More than just a preamp, Auteur DT does not care what its user plays — be it electric guitar, bass, baritone, viola, or whatever — as anything plugged into it sounds weighty, detailed, harmonically rich, and, above all, clean. Clearly, there is not a better single-channel preamp/DI box in its price class — certainly not one that does not look like it was component-sourced via a dumpster dive behind an antique radio museum! Musically, Auteur DT dutifully respects every ingredient of its user’s tonal recipe — their technique, string gauge, fingerboard choice, and especially those pickups they paid too much for!


The tough-as-nails brushed black aluminum chassis bookended by organic, vintage-style varnished maple side panels are indicative of Auteur DT being sturdily built for comfort, usability, and lasting performance — and also looking like it should cost twice what it does. It is, of course, what is on the inside that counts — and Auteur DT does not disappoint in that regard, being built around a robust US-made transformer combined with cherry-picked Nichicon and Vishay capacitors to ensure premium sound quality, long life, and low noise.


Needless to say, Auteur DT has been duly designed to exceed every expectation, with a back-lit classic-style VU (Volume Unit) meter and positive-locking LED (Light Emitting Diode) indicator — 48V (phantom power), Ø (phase inversion), PAD, and HI-Z toggle — buttons combining with that Chicago console-style gain, XLR MIC INPUT, 1/4” Hi-Z (Instrument) input, and a 1/4” TRS OUT (BALANCED) to deliver a knockout desktop device… a welter-weight preamp/DI box with the sting of a heavyweight contender, in other words!



Auteur DT is available to purchase through Black Lion Audio’s growing global network of dealers/distributors (https://www.blacklionaudio.com/dealers) with a MAP (Minimum Advertised Price) of $259.00 USD and an SSP (Suggested Selling Price) of €259.00 EUR (excluding VAT).


For further information, please visit Auteur DT’s dedicated webpage via the link below.


About Black Lion Audio (www.blacklionaudio.com)
Founded in 2006, Black Lion Audio is a boutique audio company based in Chicago. Collectively it takes pride in providing customers with outstanding quality gear for their recording studios at prices that are ridiculously affordable. As such, the company has built a reputation for supplying superior quality sound in a cost-effective manner within the space of a few short years. Yet, given the current economic climate, it is no wonder that major labels, project studios, software companies, and high-profile tracking and mix engineers make up a significant portion of the company’s client base. Indeed, its work can be heard in award-winning major motion picture scores and soundtracks, major television shows and commercials, as well as being utilised by prestigious organisations and major label acts alike.


Web-Link:


Modbap Modular now shipping Trinity & HUE

Posted: 12-Nov-22

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Modbap Modular is proud to announce that it is now shipping Trinity - the fourth Eurorack entry in its growing product portfolio as a three-channel DIGITAL DRUM SYNTH ARRAY (effectively performing as three powerful drum voices packed into a 20HP module with a tip of the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition, albeit with some neat production tricks thrown into the musical mix) - and HUE - its immediate follow up as an AUDIO COLOR PROCESSOR (packing a chain of five effects into a 6HP-width module, making drums bang with more magnitude and melodies morph into lush lo-fi tones) - as of November 11…




Trinity takes the simple idea of tipping the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition and flipping that on its head by combining its three channels with an array of drum synth algorithms that use various synthesis types - namely, BLOCK (analogue- inspired drum synth building blocks featuring a sine and triangle core; great for traditional electronic drum creation), HEAP (additive drum synth with 12 partials; great for fun, natural sounds and pitched, percussive sounds), NEON (FM drum synth engine; great for high-quality FM drums, clangorous metallic percussion, and more), and ARCADE (quirky noise generator synth, reminiscent of classic Eighties-era arcade games with zaps, crashes, explosions, and more; great for claps, hi-hats, and even some vinyl noise approximations, as well as all sorts of fun percussion and degraded noises) - to allow for a wide variety of drum design capability that achieves and reaches far beyond the conventional. Clearly living up to its front panel-positioned DIGITAL DRUM SYNTH ARRAY wording, which immediately steers its users into a certain way of thinking, Trinity’s array of digital drum synth algorithms are very malleable, thanks to the seven sizeable knobs and four mini-pots positioned in the upper half of that distinctive-looking, triple-colour-highlighted-branded front panel. Put it this way: each control a specific parameter and characteristic - PITCH, SWEEP, TIME, SHAPE, GRIT, DECAY, EQ, CLIPPER, HOLD, VOL (volume), and, of course, CHARACTER — for each drum voice. The three — DRUM CV1, DRUM CV2, and DRUM CV3 - channels each have their own TRIG (trigger) and V/OCT (one-volt-per-octave) inputs in addition to extensive CV input options, all available for front panel-positioned patching purposes.


Trinity takes its capabilities several steps above and beyond anything comparable in the modular Eurorack world with CYCLE MODE options offering round robin and random playback, as well as two STACK modes. Musically, round robin cycles through the drum algorithm types one after another with each trigger, while random randomises the parameters of a channel’s chosen drum algorithm type with each trigger. Those STACK modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out, depending on the content of the chopped source material. Trinity’s take on that allows the second and third drum channels to be triggered by the primary channel’s TRIG and V/OCT inputs; in addition, ‘secondary’ STACK SPREAD functionality allows for fanning out the stacked drums to taste.


Trinity’s uniquely performable and switchable OUTPUT matrix allows for the routing of each drum channel’s output to the MIX output, the individual - DRUM1, DRUM2, and DRUM3 - output, or ALL. As such, easy performability, mutability, parallel processing, or side chaining are all perfectly possible. Thereafter, Trinity’s USB MIDI connection allows for MIDI control over various parameters via one USB cable. Clearly, USB MIDI makes instant integration a cinch by simply connecting one USB cable from Trinity to a groove-box or computer.


All in all, then, Trinity packs a hefty percussive punch, weighing in at a 20HP width with 11 knobs, three drum channels, three trigger buttons, four drum algorithms based on four different synthesis types, 24 CV inputs, three-output switching with three individual outputs, a mix output, and MIDI-over-USB connection belying its 26mm depth.


HUE, however, simply colors its user’s sound - hence highlighting that the aim of its name is true, thanks to the COLOR PROCESSOR wording written across the top of its slimline front panel. Its initial concept was born out of a debate about the techniques and processes used to make drum machines sound so big, bold, and delicious. It is worth bearing in mind here, though, that the sounds that tug at the heartstrings of boom-bap, lo-fi, and, subsequently, Modbap — meaning the fusion of modular synthesis and boom-bap (or, indeed, any form of hip-hop) — are those demonstrating great texture, lush degradation, soft distortion, and big bold strokes of color.


Classic beloved drum machines were often processed with outboard gear; recorded to tape; pressed to vinyl; played over big, booming sound systems; sampled; resampled, and so on. It is no surprise, therefore, that those are the sounds that become nostalgic and reminiscent of all that the black-owned Eurorack modular synthesis and electronic musical instrument manufacturer adores about classic lo-fi boom-bap production, with HUE representing its attempt at bringing that vibe into Eurorack as a 6HP-width module.


Acting as a COLOR PROCESSOR, HUE’s effects chain signal path is as follows: DRIVE, FILTER, TAPE (saturation), LO-FI, and COMP (compressor), with the panel layout allowing for the DJ-style FILTER knob to sit in first position for ease of tweaking - LP (low-pass) when turned to the left through to HP (high-pass) when turned to the right. Digging deeper, DRIVE boosts and lightly distorts the signal, while SHIFT+DRIVE adjusts the DRIVE tone; the TAPE effect is intended to impart cassette tape saturation, while SHIFT+TAPE adjusts the intensity; LO-FI adjusts bit depth, while SHIFT+LO-FI adjusts sample rate; and, lastly, the one-knob COMP mini-pot serves as the final glue in the signal path that brings everything together. There are also DRIVE CV, FILTER CV, TAPE CV, and LO-FI CV inputs, as well as mono INPUT and OUT connections, collectively opening up a wealth of creative possibilities. Put it this way: when throwing creative modulation at it, HUE is truly a textural beast.


But best of all, HUE puts the power to shape and transform its user’s sound at their fingertips - perfect for beefing up drums while equally as magical when working on melodic content, which is exactly why it pairs so well with Trinity, as well as Osiris (https://www.modbap.com/products/osiris), a sensational-sounding BI-FIDELITYTM WAVETABLE OSC (oscillator) module for Eurorack. It is fair to say, then, that HUE - like its Eurorack siblings — exemplifies Modbap Modular’s musical mantra: Made for Eurorack, dope enough for boom-bap! Before buying the now-shipping Trinity and HUE modules that are manifestly musical must-haves, make sure that there is at least a 26HP-width space available in the Eurorack setup allocated to accommodate them! 



 


The now-shipping Trinity module is available to purchase — at an MSRP (Manufacturer’s Suggested Retail Price) of $549.00 USD - via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) - including Sweetwater (https://www.sweetwater.com), the USA’s number one eCommerce provider of music instruments and pro audio gear — or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/trinity


The now-shipping HUE module is available to purchase - at an MSRP of $299.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) -  including Sweetwater (https://www.sweetwater.com), the USA’s number one eCommerce provider of music instruments and pro audio gear - or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/hue


 


 


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Avantone releases Pro BV-1 mkII tube-driven, large-diaphragm condenser microphone

Posted: 19-Sep-22

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Avantone Pro is proud to announce availability of its BV-1 mkII tube-driven, large-diaphragm condenser microphone — made for anything as a ‘spare-no-expense’ approach to microphone design with every single component chosen for its sound quality, surely set to follow in the footsteps of its beautiful ‘ButterCream’ retro-finished predecessor as an essential element of world-renowned recording studios and home-based setups alike — as of August 30…


As Avantone Pro opted to take a ‘spare-no-expense’ approach to microphone design during development of the BV-1 mkII tube-driven, large-diaphragm condenser replacement for the discontinued BV-1, its popular predecessor that established itself as an essential element of world-renowned recording studios and home-based setups alike as a result of its hitherto unmatched combination of quality, durability, and value, every single component for the new design was, likewise, chosen for its sound quality. It is for this reason that the affordable high-quality studio monitors, reference headphones, microphones, and accessories producer chose capacitors from no fewer than six different companies — France’s Solen, Germany’s EPCOS, Germany’s WIMA, Japan’s ELNA, Japan’s Nichicon, and the USA’s KYOCERA, even going so far as to directly work with many of them to manufacture custom capacitors specifically for the BV-1 mkII as only the very best could capably deliver the sound quality being sought after.


As such, the BV-1 mkII also features an output transformer custom-designed by Californian company CineMag — originally famed for its tape heads for cinema before moving into in-house manufacturing of audio transformers and inductors — as well as a handpicked, edge-terminated 34mm (AKG) CK12-style capsule, culminating in Avantone Pro’s latest tube-driven, large-diaphragm condenser microphone design demonstrating a huge bottom-end and a smooth yet airy top-end. The proximity effect lends itself to a massive sound that can add both body and a sense of presence to any vocal take — not just BVs (backing vocals)!


Veering off on another note, the BV-1 mkII also comes complete with a suite of all the accessories anyone could conceivably need — namely, a power supply of similarly ‘spare-no-expense’ standing in keeping with the microphone itself, together with an associated ultra-high-quality connecting cable custom-made by SOMMER Cable Germany as one of the very best 7-pin examples existing, thanks to the thicker-gauge conductors for the valve heaters and heater ground that ensures that the vacuum tube is always being provided with the best possible current.


Clearly, such a prized package needs to be protected, which is exactly why Avantone Pro provides a hard-shell briefcase with which to conveniently keep everything together, including a shock-mount to hold the microphone snugly and also a pop filter to assist with recording in even the toughest environments — not forgetting, of course, the wood presentation box that safely stores the treasured BV-1 mkII microphone itself.


It is fair to say, therefore, that while the affordable high-quality studio monitors, reference headphones, microphones, and accessories producer’s original BV-1 remains a top-tier contender as a world-class vocal microphone, the expanded versatility of the BV-1 mkII also makes for a clear-cut choice for use with brass, mandolin, percussion, and piano — even guitar cabinets. Clearly, then, the BV-1 mkII is, indeed, made for anything.


The BV-1 mkII is available at Avantone Pro’s US Dealers (https://www.avantonepro.com/en/dealers) with a MAP (Minimum Advertised Price) of $1,099.00 USD. (European SSP — Suggested Selling Price — is €1,099.00 EUR, excluding VAT, with worldwide Distributors listed by country here: https://www.avantonepro.com/en/distributors)


 


Avantone Pro BV-1 mkII Specifications



  • Tube Type: Select Low-Noise Russian 6072A

  • Polar Pattern(s): Variable Figure 8 through Cardiod and Omni.

  • Capsule: Custom dual sided 34mm edge-terminated gold-sputtered Mylar (6 micron)

  • Frequency Response: 25Hz-20KHz

  • Output Impedance: <200 Ohms / transformer isolated

  • Sensitivity: -35dBV

  • S/N Ratio: 78dB (Ref. 1Pa A-weighted)

  • Noise Floor: < 17 dBA

  • Maximum SPL: 134dB (0.5% THD @1000Hz) 144dB with pad engaged

  • Equivalent Noise Level: <18dB (A-weighted IEC 268-4)

  • Output Connector: Male XLR 7 pin

  • High-pass Switch: 80 Hz 6dB/octave Switch

  • Attenuation Switch: -10dB Switch

  • Power Requirement: 90Vac-220Vac

  • Included Accessories: Power Supply, Padded Wooden Mic Box, Shockmount, Road Case


 


For further information, including its specification, please visit the dedicated BV-1 mkII webpage here: https://www.avantonepro.com/en/products/bv-1-mkii


 


About Avantone Pro (www.avantonepro.com)


As a producer of affordable high-quality studio monitors, reference headphones, microphones, and accessories, Avantone Pro is a different kind of audio company — a creative vehicle, in effect, enabling its core team to bring to market the things viewed as missing in the industry. Indeed, this could be anything as simple as meeting a particular price point to give excellent quality for reasonable pricing to a product that simply does not exist until built by that team. Far from using the shotgun approach to creating a product line, however, each and every product produced has passion and purpose driving it forward. Regardless of whether attracting a two- or four-figure price tag, attention to design is consistent throughout all Avantone Pro products. Performance comes first, of course, but a great deal of design time is spent creating visually attractive products. Put it this way: the company collectively enjoys classic, timeless designs itself; it is convinced, therefore, that others feel the same way! With its microphones and monitors used in studios around the world — whether within home-based project setups or world-renowned multi-million-dollar facilities, Avantone Pro is sensitive to the real-world operating budgets of bigger and smaller studios alike but also appreciates struggling songwriters/artists who are passionate about creating great music yet must adhere to budget limitations based on common sense spending. Since it strives to offer products that anyone would be proud to own and have long-term use of in the quest for creating great music, even those on a budget can comfortably access Avantone Pro’s world-class sound.


Web-Link:


Apogee releases BOOM budget audio interface

Posted: 17-Sep-22

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Apogee's new BOOM is a 2x2 USB-C audio iterface with built-in DSP FX. With BOOM, you can record, monitor, and mix through class-leading mic preamps and pristine digital conversion, fine-tune your input sources using BOOM’s built-in hardware DSP FX, and take your studio anywhere your story takes you. All you have to do is connect directly to your Mac, iPad Pro, or Windows laptop, and let your ideas flow.


 



 




FEATURES





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Solid State Logic forays into the world of guitar processing with Guitarstrip

Posted: 12-Sep-22

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Solid State Logic forays into the world of guitar processing with Guitarstrip, the latest plug-in added to its ever-growing SSL Complete subscription, available from only $14.99 per/m (Ts&Cs apply) and in several formats including VST2, VST3, AAX and AU.


With Guitarstrip, SSL brings its years of experience to a universe of musicians and producers working in the box. The new plug-in complements their renowned Drumstrip and Vocalstrip 2 plug-ins and enables users to access mix-ready guitar tones faster and with greater efficiency. Aside from providing classic tube amplifier emulations, Guitarstrip also contains SSL’s legendary EQ and dynamics processing, as well as phase correction controls so your signal sounds exactly as it should before hitting 'record.'






"Guitarstrip is a fantastic solution for both recording and mixing, and a great all-rounder for electric, acoustic and bass guitars," says Jon Sandman, product manager of plug-ins at SSL. "Guitarists will appreciate the Drive module, which can be used to achieve anything from a clean and subtle tone, to trashy, overdriven distortion."


In addition to the Drive module, which also contains Boost, Punch, Edge and Shape controls to help sculpt the added harmonics, Guitarstrip also contains three other powerful modules: Phase Correction, which helps identify and resolve common phasing issues; Compressor, which contains five carefully selected compression presets as well as an Auto-Gain feature; and EQ, which has a simplified 3-band channel for tonal shaping among other features.


Key features of the new Guitarstrip include:



  • Apple M1 Native Support: Guitarstrip is a universal binary, and features M1 Native support.

  • 4 carefully tailored guitar processing modules: Drive, Phase Correction, Compressor and EQ — each module is packed with features allowing users to quickly hone the right sound.

  • All-in-one processor for electric, acoustic and bass guitars: Guitarstrip is an extremely versatile solution in pre-production, recording or mixing scenarios.

  • Quickly dial in compression, EQ and tube amp drive: With user friendly presets as well as detailed controls over every sound parameter, Guitarstrip makes tonal shaping more efficient.

  • Packed with useful tools for mixing: Built-in wet/dry mix controls, as well as parallel compression options and multi-band EQ help your guitar tones sit right in the mix. 


Along with the SSL Complete subscription, Guitarstrip is also available at a cost of $199 / £139.00 (Ex VAT) via the SSL eStore.



Web-Link:
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Modbap Modular expands Eurorack module lineup with Trinity debuting as a DIGITAL DRUM SYNTH ARRAY

Posted: 12-Sep-22

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Modbap Modular is proud to debut Trinity — the fourth entry in its expanding Eurorack product lineup as a three channel DIGITAL DRUM SYNTH ARRAY, as the appropriate wording on the distinctive-looking, triple-colour-highlighted-branded front panel in reference to effectively performing as three powerful drum voices packed into a 20HP module with a tip of the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition subtly suggests, albeit with some neat production tricks thrown into the musical mix — at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11…


 


“Trinity has evolved over time to become what it is today.” Modbap Modular founder/owner/designer Corry Banks is perfectly positioned to introduce Trinity to the musical masses, historically highlighting its interesting journey getting there thusly: “I wanted a drum module that would allow me to have a simple-yet-smacking kick, snare, and hi-hat in one module. I also wanted to play outside of that simplicity with malleable percussion synthesis. Trinity had to have a degree of hands-on control, together with a good deal of CV and/or MIDI control. I get into sound design, too, so Trinity had to serve me well in that area, and it does not disappoint. Trinity is all of that, while finding a way to introduce a few interesting and fun quirks as well.”


 


With that being said, Trinity takes the simple idea of tipping the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition and flipping that on its head by combining its three channels with an array of drum synth algorithms that use various synthesis types — namely, BLOCK (analogue-inspired drum synth building blocks featuring a sine and triangle core; great for traditional electronic drum creation), HEAP (additive drum synth with 12 partials; great for fun, natural sounds and pitched, percussive sounds), NEON (FM drum synth engine; great for high-quality FM drums, clangorous metallic percussion, and more), and ARCADE (quirky noise generator synth, reminiscent of classic Eighties-era arcade games with zaps, crashes, explosions, and more; great for claps, hi-hats, and even some vinyl noise approximations, as well as all sorts of fun percussion and degraded noises) — to allow for a wide variety of drum design capability that achieves and reaches far beyond the conventional. Clearly living up to its front panel-positioned DIGITAL DRUM SYNTH ARRAY wording, which immediately steers its users into a certain way of thinking, Trinity’s array of digital drum synth algorithms are very malleable, thanks to the seven sizeable knobs and four mini-pots positioned in the upper half of that distinctive-looking, triple-colour-highlighted-branded front panel. Put it this way: each control a specific parameter and characteristic — PITCH, SWEEP, TIME, SHAPE, GRIT, DECAY, EQ, CLIPPER, HOLD, VOL (volume), and, of course, CHARACTER — for each drum voice. The three — DRUM CV1, DRUM CV2, and DRUM CV3 — channels each have their own TRIG (trigger) and V/OCT (one-volt-per-octave) inputs in addition to extensive CV input options, all available for front panel-positioned patching purposes.


 


Trinity takes its capabilities several steps above and beyond anything comparable in the modular Eurorack world with cyclical (C. MODE) options offering round robin and random playback, as well as two STACK modes. Musically, round robin cycles through the drum algorithm types one after another with each trigger, while random randomises the parameters of a channel’s chosen drum algorithm type with each trigger. Those STACK modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out, depending on the content of the chopped source material. Trinity’s take on that allows the second and third drum channels to be triggered by the primary channel’s TRIG and V/OCT inputs; in addition, ‘secondary’ STACK SPREAD functionality allows for fanning out the stacked drums to taste.


 


Trinity’s uniquely performable and switchable OUTPUT matrix allows for the routing of each drum channel’s output to the MIX output, the individual — DRUM1, DRUM2, and DRUM3 — output, or ALL. As such, easy performability, mutability, parallel processing, or side chaining are all perfectly possible.


 


Thereafter, Trinity’s USB MIDI connection allows for MIDI control over various parameters via one USB cable. Clearly, USB MIDI makes instant integration a cinch by simply connecting one USB cable from Trinity to a groove-box or computer.


 


All in all, then, Trinity packs a hefty percussive punch, weighing in at a 20HP width with 11 knobs, three drum channels, three trigger buttons, four drum algorithms based on four different synthesis types, 24 CV inputs, three-output switching with three individual outputs, a mix output, and MIDI-over-USB connection belying its 26mm depth. Concludes Corry Banks: “I think we’ve achieved a good deal more than we even initially set out to do with Trinity.” That’s really saying something — all the more so since the truly talented individual concerned holds an Associate’s Degree in Electronics, a Bachelor’s Degree in Technology Management, and a Master’s Degree in Project Management! After all, Trinity truly is a percussive powerhouse of synthesis — so much more than a simple-yet-smacking kick, snare, and hi-hat in one module, but rather a Eurorack module like no other… one which is bolstered by its inclusion of a bunch of really dope-sounding synth algorithms with which it does not disappoint.


 


Duly making its debut at Knobcon Number Ten, a one-of-a-kind synthesizer convention now in its tenth year, held just outside of Chicago, IL, USA, at the Hyatt Regency Schaumburg, September 9-11, anyone wishing to see (and hear) Trinity in action in advance of shipping should seriously consider checking it out there — assuming, of course, that they are in the general vicinity or prepared to travel at short notice if not already attending.


 


 


Expected to ship in mid-October 2022, Trinity is available to preorder at an MSRP (Manufacturer’s Suggested Retail Price) of $549.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/trinity


Web-Link:
Web-Link:


IK Multimedia Releases T-RackS Joe Chiccarelli Vocal Strip

Posted: 20-May-22


IK Multimedia announces Joe Chiccarelli Vocal Strip for T-RackS, reproducing in a single plug-in the GRAMMY-winning producer's unique vision and formula for crafting attention-grabbing, engaging vocals. Having produced and mixed countless hit songs for artists ranging from Elton John to the White Stripes, Joe has perfected his parallel processing technique to enhance the emotional impact of each vocal performance.

Joe Chiccarelli Vocal Strip models Joe's go-to chain of high-end analog outboard gear, custom signal flow and unique know-how to deliver an incredible level of control and character to any style of vocal tracks.


 


Joe Chiccarelli Vocal Strip - Image 2


 


 


 


 


 


 


 


GRAMMY-winning vocal sound
Based at Sunset Sound Studios in Hollywood, California, world-class engineer/producer Joe Chiccarelli has developed a reputation for crafting impactful, emotional vocals that helped him earn 10 GRAMMY and Latin GRAMMY awards.

It's also made him sought after by such artists as U2, Beck, The Strokes, Juanes, The Killers, Morrissey, Tori Amos, The Shins, Alanis Morissette, The White Stripes, Jason Mraz, Cage The Elephant, Vance Joy, Spoon, The Raconteurs, Café Tacvba, and My Morning Jacket.

A formula for sonic success
IK worked hand-in-hand with Joe to ensure T-RackS Joe Chiccarelli Vocal Strip offers an exact recreation of the signal chain used by top artists. Users will find 3 distinctive compressors modeled after a UREI 1176, a Fairchild 670 and a hybrid UA 176/ Tube-Tech CL 1B for bringing out the subtleties in every vocal.

This signature chain offers the ultimate parallel compression tool with the convenience of an all-in-one channel strip configuration. Between the 3 compressors, users can add focus, grit, warmth, weight, clarity - whatever vintage or modern sound best suits the mood and vibe of the music.

Parallel compression for radio-ready emotion
Using a single compressor for vocal compression risks crushing its soul. That's why Joe uses multiple compressors - by blending the uncompressed signal with each compressor in parallel, he's able to maintain the dynamics and passion of each vocal, while still achieving higher levels of compression and character. It's a delicate balance, but when done right the possibilities are endless.

All Joe's tools in one plug-in
In addition to this advanced 3-compressor parallel processing chain, T-RackS Joe Chiccarelli Vocal Strip includes essential tools for further sculpting vocal tracks to perfection.



  • The De-esser section provides optimized settings for male and female vocalists with a single control to tame and remove sibilance.

  • An analog-modeled EQ section works independently or in tandem with the 3 compressors with a versatile Pre/Post switch.

  • The Effects section includes 2 each of Reverb, Delay and Modulation effects selected by Joe from IK's latest algorithms.

  • The Output section offers a global Wet/Dry control, Drive to help vocals cut through a mix and Color to adjust the Drive's harmonic tone.



Take it from the master
T-RackS Joe Chiccarelli Vocal Strip includes a wide variety of presets from Joe himself, saving precious time and making it easy to get amazing results. Users can mix with them right out of the box or use them as springboards to develop their own custom presets. Along the way, they'll gain valuable insight into the mind of a mixing master and learn how he uses his signature signal chain to achieve engaging, radio-ready vocal sounds.

The power of T-RackS
Like all T-RackS plug-ins, T-RackS Joe Chiccarelli Vocal Strip offers two ways to work: as a single plug-in, or within the T-RackS 5 shell.

Pricing and availability
T-RackS Joe Chiccarelli Vocal Strip is available now from the IK Multimedia online store and from IK authorized dealers worldwide at a special limited-time introductory price of $/€129.99* (reg. $/€159.99) through May 31, 2022.

*All pricing excluding taxes.

For more information about Joe Chiccarelli Vocal Strip or to see it in action, please visit the links below.


Web-Link:
Web-Link:


Spitfire LABS Cello Moods free plugin!

Posted: 29-Apr-22


Get this free plugin from Spitfire Audio suitable for everything from score work to contemporary songs in various genres from pop to RnB & Neo-Soul. A collection of emotive micro-performances from celebrated folk cellist Alice Allen. Select from one of four ‘moods’ to effortlessly translate each feeling into sound — from spine-chilling tension to sweeping awe. It's a Plugin available as VST2, VST3, AAX and AU, so it can be used directly in your favourite DAW. Does not require Kontakt. Get this free plugin via the link.



Also checkout Spitfire's fantastic free BBC Symphony Orchestra Discover which is all you need to get started creating classic score music.


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More vintage retro + from Roland with the Juno-X

Posted: 28-Apr-22


Meet the new synthesizer in the JUNO series: JUNO-X. This powerhouse synth combines the sounds of the classic JUNO-60 and JUNO-106 you know and love with the new modern JUNO-X sound engine. That’s right, you get three JUNO sound engines in one instrument.

 

Thus spake the PR blurb and what you get is a ballpark 1700 quid release price modelling & sample based synth which tugs at the legacy heart strings but offers much more if you stump up for a cloud account after which it becomes a much bigger studio centerpiece workstation beastie offering a vast array of sounds including of course emulations of the classic Juno-106 & Juno-60 delivered courtesy of Roland's current flagship ZEN-Core analog modelling.

 

But there's more... the Juno-x also serves up a smorgasboard of other classic sounds from the Roland archives,  from the JD-800 & Jupiter-8 to the JP supersaws, the entire sample based library of the XV-5080 as well as the RD-Piano and a Vocoder for the desert course!  The Juno-x also delivers drums, has built in fx and offers 4 parts multi-timbrelity plus a dedicated drum section.

 

The one thing you cannot find anywhere however is any mention of the actually polyphony of the Juno-x, which isn't even listed on Roland's Juno-x specifications page, a very strange omission for a polysynth, so it's clearly not something Roland want to shout to the world about. A quick walk through the user manual however soon reveals the specs:

 

 

What is the maximum simultaneous polyphony?

 

It differs depending on the type and combination of models. The JUNO-X model has a maximum polyphony of 16 notes. Note that the polyphony is reduced if you are using multiple parts at the same time. In the case of PCM sounds, up to 256 notes (for MONO) can be produced.

 

So as we suspected, the modelling engine itself has a lesser voice count sufficient to deliver the required authentic Juno-106, Juno-60 or other analog modelling emulation experiences, & that voice count dwindles per patch once you start to add more multi-parts, but as you can see it's voice count is augmented by pcm sample based sounds including sample drums to bump up the total voices to final much bigger voice count. 

 

 


 

 

In summary, the Juno-X is very much a centre-peice synth, carrying on Roland's software based sound engine configurability first seen with their plugout systems but dragged up to date with their latest core engine.

 

Will it take? Hmmm it's a tough market now for the legacy boys what with the likes of Behringer offering up ludicrously low priced REAL analog classic emulations and snapping at their heels like a determined terrier... but then unlike those Behringer emulations the Juno-X does many many many things in one box.

 

The Juno-X will no doubt sell very well to the world's professional keyboard & synth sessionista as well as pro studios alike we'd imagine, but quite how the proletariat takes to it might be another matter at a release price of around 1700 GBP, plus the cloud subscription cost required to really open up all it's potential.

 

Oh btw, did we mention it's also a USB audio interface with a an XLR mic/line pre-amp?.. yeah it is... in short it's a core studio workstation center-peice machine.

 

 



  • JUNO-X engine with Super Saw waveform, velocity sensitivity, Chorus III effect, and more

  • User slot for loading Model Expansions such as the JUPITER-8, JD-800, Vocal Designer, and others from Roland Cloud

  • Fast and intuitive workflow based on Scenes

  • Panel layout inspired by historic JUNO synths from the 1980s

  • High-resolution knobs and sliders for instant sound creation and precision control

  • JUNO-60 arpeggiator and advanced i-Arpeggio driven by artificial intelligence

  • Expressive 61-note keyboard with aftertouch

  • Onboard stereo speakers and Bluetooth audio support

  • USB audio/MIDI interface and USB Memory port for data backup to a flash drive


 


For more info check Roland's website on the link below .



Web-Link:


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