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.

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.

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.

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

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.

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.

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

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.

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.

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.

• ACIDized WAV Files
  
• Apple Loops/AIFF Files
  
• Loops Synced To BPM
  
• 44.1kHz/24-Bit
  
• PC/Mac Compatible
  
• Royalty-Free (No Exceptions)
  

• Added the preset list sorting function to the preset manager.
  
• Redesigned the knob image.
  
• Extended the "Color Editor" with color modifiers.
  
• Added the "Gray Blue" and "Navy" color schemes.
  
• Reimplemented waveform graph display.
  
• Fixed a minor output time shift at 8X oversampling in VST/VST3 version.
  
• Windows: implemented a higher-precision user interface update timer, for smoother Graph display.
  
• Improved readability of the condensed font.
  
• Added macOS Catalina compatibility.
  
• Voxengo Polysquasher 3.2 Screenshot
  

• Transparent compression sound
  
• Real-time gain reduction graph
  
• 6 built-in compressor modes
  
• Compressor mode editor
  
• Stereo and multi-channel processing
  
• Internal channel routing
  
• Channel grouping
  
• Mid/side processing
  
• Up to 8x oversampling
  
• 64-bit floating point processing
  
• Preset manager
  
• Undo/redo history
  
• A/B comparisons
  
• Contextual hint messages
  
• All sample rates support
  
• 22 ms compensated processing latency
  
• Retina and HighDPI support
  

• ACIDized WAV Files
  
• Apple Loops/AIFF Files
  
• MIDI Loops
  
• REX2 Loops
  
• Reason ReFill
  
• Ableton Live Pack 8.1.3+
  
• Loops Synced To BPM
  
• 44.1kHz/24-Bit
  
• PC/Mac Compatible
  
• Royalty-Free (No Exceptions)
  

• ACIDized WAV Files
  
• AIFF Files
  
• Loops sync to BPM
  
• 44.1 kHz/24-Bit
  
• PC/Mac Compatible
  
• Royalty-Free (No Exceptions)