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Audified ToneSpot Drum

By
Bryan
-
Audified ToneSpot Drum

Audified continue their one-stop-shop plugin series with a version for drums. It features all of the setting needed to polish drum tracks to perfection.

Software applications, software effects, and hardware processors developer Audified is proud to announce availability of ToneSpot Drum Pro — the third entry into its growing family of one-shot channel strip-style processing plug-ins par excellence that are as easy on the eye as they are easy to use, this time aimed at improving the tone of any acoustic or electronic drums and percussion as another aptly-named Swiss Army knife- style solution, so speedy arrivals at appropriate, professional-sounding results are always assured.

Hunting down perfect-sounding percussion to propel a particular track in the right musical direction can prove particularly frustrating for aspiring artists, engineers, and producers in a technology-driven production world increasingly beset by creativity-stifling choice. Copying or being inspired by a distinctive drum tone that anchors a respected recording can clearly be an attractive proposition, yet — more often than not — even that is easier said than done. Drum kits can be notoriously difficult to record well, whether falling into top-tier territory or otherwise, even if the recordist is fortunate enough to have access to a classy collection of outboard processing and microphones with which to capture them. Investing in high-quality drum triggers and amazing-sounding samples, of course, can prove to be an alternative for those taking the tricky performance route, but it is still perfectly possible to drastically change the resultant sound. Similarly, it is also perfectly possible to drastically change the sound of drum machines, regardless of how well they have been programmed.

Whatever way those aspiring artists, engineers, and producers choose to create their percussion tracks, it is more than likely that they will be working with DAWs (Digital Audio Workstations) which — while convenient — can confront them with a dizzying array of plug-ins purporting to do this and that. This can consequently lead to tweaking repeatedly when that dream drum tone resolutely refuses to sit well when mixed with the rest of the musical arrangement, adding to the frustration. Fortunately for all, Audified’s ToneSpot Drum Pro one-shot channel strip-style processing plug-in is aimed at improving the tone of any acoustic or electronic drums and percussion as another aptly-named Swiss Army knife-style solution, so speedy arrivals at appropriate, professional-sounding results are always assured.

Anyone already familiar with Audified’s acclaimed ToneSpot Bass Pro and ToneSpot Acoustic Pro plug-ins with which ToneSpot Drum Pro shares its concept and operational arrangement — albeit as a time-saving means of effective entry to tips and tricks for best drum processing practice via settings based on analysis of thousands of renowned recordings — should immediately feel at home. However, the straightforward signal flow is equally suited to quickly getting newcomers to where they want to take their sound, starting with the Channel button; there users can select whether they want both sides of the signal to be processed, or only the left (L) or right (R) sides. The Input knob allows the input signal strength to be set accordingly; alternatively, pressing the AGC (Automatic Gain Control) button sets the signal strength automatically, based on the calibration settings. Simply select Drum Type — Kick, Snare, Toms, OH (overheads), Room, and Bus — and ToneSpot Drum Pro’s processing prowess is already heading in the right direction from the outset. Onwards towards the desired result, the Character section allows users to change the tone of their drums via three Type — Natural, Modern, and Vintage — settings; there they can also add additional, self-explanatory — Bright, Scoop, or Lo-Fi — Character features, or any combination of all of those settings. The SBG (Sub Bass Generator) section lets users adjust the Cut-Off frequency and also the Intensity of the generator itself to give the tone what it needs. That tone also benefits from the Gate section, attenuating any audio signals that register below its Threshold setting.

Several self-explanatory sections do exactly what is said on the tin — or, better said, the GUI (Graphical User Interface) itself: add Saturation to the tone to give it some grit and fullness; Shaping the tone comes quickly and easily, thanks to the eight-band, musically-labelled (Low-cut, Weight, Thump, Body, Wood, Steel, Sparkle, High-cut) EQ settings to perfectly match anyone’s drum tone-shaping needs with better flexibility; the Punch section says it all — add some slamming punch to the tone, while, for better flexibility, there is also a compression release switch; sometimes it is necessary to go really deep with some surgical EQ — all is there for the taking in the Surgery section; anyone needing to have their tone more dynamically controlled but not completely dead need not look any further than the Smash section; then the Effects section is where the fun really starts, so why not add some (Room, Plate, or Hall) Reverb? The aptly-named Finalizer section is where ToneSpot Drum Pro users can turn to add some finishing touches to their dream drum tone — fatness, tightness, and smoothness are all but a touch of a dedicated (Fat, Tight, Smooth) button away in this mastering-friendly final destination!

Anyone with an appreciation of what is involved in modern-day drum processing will assuredly appreciate what it is that ToneSpot Drum Pro speedily does so well. Why? Well, these days it can take a lot of processing to get drums sounding just right — all the more so since they are clearly crucial to so many music genres. In an age of rising track counts as more CPU (Central Processing Unit) power becomes available to DAWs, drums frequently find themselves fighting against busy arrangements, where several layers of instruments can clash with one another. Also, recordings can sometimes sound too thin, harsh, or sterile. So a tone that can clearly cut through the mix is the order of the day. That tone needs to be both harmonically rich and fat- sounding, yet retain clarity and tightness. That said, sometimes those heavily processed drums still need to sound natural.

Needless to say, products tailored to post-processing of any acoustic or electronic drums and percussion have hitherto been few and far between, rather remaining reliant on studio-savvy engineers’ established workflow, which can involve some seriously convoluted heavy lifting — brilliantly blending drum samples with extensive equalisation, filtering, compression, saturation, or even some multi-band processing — in pursuit of achieving awesome-sounding tones that today’s listeners are accustomed to hearing… until today’s timely arrival of ToneSpot Drum Pro, that is! Indeed, artists, engineers, and producers no longer need waste so much time and energy using a ton of CPU power-draining plug-ins when hunting down perfect-sounding percussion to propel a particular track in the right musical direction when ToneSpot Drum Pro has what it takes to get them to their final destination… directly.

ToneSpot Drum Pro is available to purchase for a time-limited introductory promo price of $49.00 USD until July 11, 2019 — rising thereafter to $99.00 USD — from Audified’s online shop here: https://shop.audified.com/products/tonespot-drum-pro
ToneSpot Drum Pro can be directly downloaded as an AAX, AU, VST2, VST3, 32- and 64-bit native plug-in for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a fully-functional, 30-day demo version — from Audified here: https://services.audified.com/download (Note that all Audified’s ToneSpot series plug-ins are serial number-protected, so no iLok is required.)
For more in-depth info, please visit the dedicated ToneSpot Drum Pro webpage here: https://shop.audified.com/products/tonespot-drum-pro
Watch Audified’s ToneSpot Drum Pro promo video here: https://youtu.be/VXGt58tnXdE
ToneSpot Drum Express — featuring the same processing power as its bigger brother, but with a reduced control count — will soon be available to purchase for a time-limited introductory promo price of $19.00 USD — rising thereafter to $49.00 USD — from Audified’s online shop.

Review: AR-1 by Kush Audio

By
Bryan
-
Kush AR-1 Lisson Grove

AR-1 Rundown:
5 / 5 Reviewer
Buy: $99.00 (license) 9.99 / month (included in Kush subscription)
Pros
- More fine-tuned controls than traditional tube-based compressor plugins
- Has yet another flavor of UBK overdrive.
- One knob style Tone to refine tracks
Cons
- None, only requests
- Could use a Mid / Side mode
- Needs a Command / Control-click to link input and output
Summary
Are you tired of plugin manufacturers making tube-based compressors with minimal control? You've come to the right place. AR-1 takes the lid off of the classic tube-based compressor with expanded options for compression and tone shaping. All in one plugin.
Rating

Kush takes on a rendition of a classic by releasing a digital version of the Lisson Grove AR-1. This Variable-mu tube compressor is based on a favorite in Abbey Road Studios, making its way onto countless hit records in the ’60s. Kush’s version made its way into Everything Recording’s headquarters before its initial release, and we kick the tires and see just what Kush’s new compressor is about.

What’s a Lisson Grove?

After tackling the A-Designs Hammer, I was sure that the next hardware-based plugin was going to be A-Designs’ “The Nail.” Alas, UBK has thwarted predictability and instead recreated a Lisson Grove AR-1. This particular vari-mu compressor is loosely based on another famous compressor from the ’50s. In a way, this makes the Kush version a digital “quasi second cousin” to the RS124. During the ’60s, this modified Altec 436B was one of Abbey Road’s driving forces behind the sound of both the Beatles’ later and Pink Floyd’s earlier records. Being no slouch of its own, the Lisson Grove AR-1 has graced the tracks of some of the Black Keys hits due to its unique brand of tube-based saturation and low end.

What’s the Same

Apart from the same military green faceplate, yellow text, and chicken head style knobs, not much remains similar to the hardware model. Overall, the plugin version still features the same Input, Output, Attack, Release, and O/P Load (Tone) knobs. But in typical Kush fashion, each control has been altered to bend to UBK’s will. Even though the plugin slightly differs, Kush maintains that the plugin version is every bit of the hardware counterpart. Featuring the same amount of classic dynamic vibe that made this unit beloved by A-List engineers like Michael Brauer.

What’s Added

Of course, being a Kush Audio plugin version of the hardware has its benefits, packing several enhancements to bring it into the DAW space. To combat the nuisance “pumping” artifacts from low frequencies, the AR-1 incorporates a 6dB-per-octave 60Hz high pass filter to the detector sidechain. The I/O link builds on the concept of the generic relationship of the input and output knobs and incorporates a 2:1 input-output ratio. Since the Kush AR-1 is a 2:1 ratio compressor, this helps to dial in the right amount of gain-staging more effectively than just a linked knob. Basically, for every 2dB of input added or subtracted, 1 dB of output is inversely applied.

Also, instead of merely having the Threshold dependent on the input like the hardware, an additional Threshold control has been added. A bonus to this control is that the compression can bypass by turning the Threshold all the way counter-clockwise. In typical modern fashion, a mix knob has been added as well for quick parallel compression. Lastly, all values display clearly above each control for quick reference.

What’s Slightly Different

Instead of the original Input and Output controls only increasing gain, Kush’s version goes from -24dB to +24dB. This increase allows for more control over gain staging and subsequently, the tube overdrive circuit. Combine this with the compressor bypass feature and the Kush Lisson Grove works as a stand-alone distortion box. (If you’ve ever used any of Kush or Sly-Fi’s plugins, you know just how great the overdrives are on UBK’s products).

The AR-1 also shifts the Attack and Release controls for modern applications. The Attack range has moved from the hardware’s 15 – 130ms control to a 1 – 50ms range. While this may seem confusing and limiting, Kush determined there wasn’t much meaningful difference between the 50ms attack time and anything beyond on the compressor’s sound or envelope. This adjustment is due to the incredibly gentle knee and low ratio. What they did determine, however, was that the difference between 1 and 10ms as well as 10 and 50ms was immensely different. Therefore, UBK shifted the attack.

The release, however, has been opened up on the plugin, starting at 50ms and going all the way to 2 seconds (the hardware version starts at 130 and goes to around 1.5 seconds). The plugin has freed the release from the stepped constraints and is now continuously variable, but the original four stepped “Beatles” release times are still accessible by clicking the yellow numbers “1-4” on the release control.

What’s Completely Different

Kush adapted the original Lisson Grove’s “O/P Load” control as well. This control on the hardware changed the output impedance, which if turned counter-clockwise to 200 ohms would result in a darker sound. This “Dark” setting was how the original Altec behaved, but the makers of the Lisson Grove felt that limited its use, so the O/P Load knob was added to give the best of both worlds. The Kush AR-1 took this concept much further (and most likely not possible in hardware)by adding what I can only think to describe as a “tilt/smile” EQ. Turn it counter-clockwise and a low shelf at 80Hz and a high shelf at 8kHz pair with a slight dip at 2.5 kHz. Go clockwise, and the AR-1 incorporates a gentle bump at 150 Hz and 800Hz with a cut at 4 kHz and 10 kHz.

In minimal doses, the “Tone” control can behave like the original, but let’s be honest here, you’re going to be pushing this control. The result, while not corrective per-say, works as a sweetener for just about any type of source audio. Even with compression disabled, the tone control is a must combined with the overdrive the Kush unit produces.

What They Didn’t Include

Kush didn’t incorporate some features like the balance controls due to obvious reasons. A plugin doesn’t need to calibrate any circuits. The missing “Infinite Release” control, however, left me disappointed. Lisson Grove created the Infinite release control to allow the unit to be “primed.” This “preloading” triggers compression at the start of a track. The gain reduction is then “frozen” to avoid that huge sucking sound that comes from the unit initially compressing the audio. The AR-1 mitigates some of these problematic artifacts in the plugin version by giving a quicker attack time. Still, the Infinite Release could have some use in the digital world.

Infinite Hold could be especially useful when using very heavy-handed compression on tracks with long silent parts. Logistically, this may have just been difficult to code. This is by no means a deal breaker. I just found myself curious on the ways I could use this in sessions. Of course, when you see something you don’t have that was originally there, the rebel in you wants it!

In Operation

Although I’ve never personally used the hardware, Lisson Grove, I like what I hear on the Kush AR-1. It reminds me of a supercharged version of Arturia’s COMP-TUBE-STA with more control over the experience. Where Arturia stuck with the mostly-faithful recreation, UBK took the lid off and went full-on mad scientist. Both accomplish the same overall goal and can handle heaps of gain reduction with an elegant class. The Kush AR-1 can get just as quickly get down and dirty as well.

On acoustic guitar, the AR-1 is precisely the tool I’ve been trying to find. Before the AR-1, I used to have to place several plugins on a track to dial in the right tone. Now I can throw some corrective EQ in front of the AR-1 and let Kush handle the rest. Your bass and synths will love it. This thing can easily handle 20db of gain reduction without thinning out the lows. The “Come Together” preset on drums is a Beatle’s lovers dream. Vocals get a sweet gooey gain reduction that can center a track entirely in the mix. Your mix bus will even love it. Even in small quantities, there is this anchored weight in the mix that wasn’t present without the AR-1.

What I Would’ve Liked to See

While I have no complaints about the plugin, I did find myself wanting a few things. Mid-side capability would be insanely useful given the AR-1’s harmonic distortion and smooth compression. I’d love to be able to distort the edges while slightly squeezing the center of a mix. Lastly, I have the same complaint about the Input / Output link as I do with other plugins. Having an input/output link is useful, but I’d like the ability to “clutch” the linkage with a shortcut key. It just gets tedious having to turn a feature on and off when dialing in the perfect balance.

Thoughts

In typical Kush fashion, they’ve created a plugin that becomes a “quiver of one”. Most developers would separate these features into several plugins to make a few extra bucks. The result of this unit incorporates dynamic control in a way that makes easy-to-use compression accessible to the masses. There isn’t a combination of knobs that makes a bad result, especially using the mix knob. Once understood and gain staged adequately, the sky is the limit.

I’ll admit, I initially reacted with “Kush have already made the Novatron and UBK-1. We don’t need another compressor,”. Despite this initial thought, the AR-1 still impressed. While they have some slight similarities, they’re entirely different units that have their distinctive flavor. The AR-1 removes many restrictions that many vari-mu compression plugins place, giving it a great deal more versatility. Let’s all face it; everyone wants a significant other that can clean up as well as they can get dirty. The Kush AR-1 is the “lady in the streets but a freak in the sheets” of plugin compressors. Enough said.

Accusonus ERA 4 Bundle

By
Bryan
-
Accusonus ERA 4

Accusonus (www.accusonus.com) today announced it is bringing its multi-patented, single-knob audio cleaning and noise reduction technology to its newest family of plugins for video editors, audio engineers and podcasters: the ERA 4 Bundles.

The ERA 4 Bundles (Enhancement and Repair of Audio) are a collection of single knob audio cleaning plug-ins specifically designed to reduce the complexity of the sound design and audio workflow without compromising sound quality or fidelity. They are available today in two collections: The Standard Bundle and the Pro Bundle.

Accusonus’ patented single knob design appeals to professional editors, filmmakers and podcasters as its advanced design greatly reduces the time-consuming audio repair workflow to a simple twist of a dial. Additionally, the ERA 4 Standard family of plug-ins enables aspiring content creators, YouTubers and film and audio students to quickly master audio workflows with minimal effort or expertise.

Accusonus, based in Athens, Greece and with engineering offices in Boston, MA, made their industry debut in 2014 with a family of ground breaking, critically-acclaimed music software tools. Among the first to integrate machine learning and artificial intelligence technology into audio production software, Accusonus transformed the way musicians and sound designers created music. Today they are leveraging their audio engineering expertise to expand into the film and video, content creation and burgeoning podcasting markets.

The Accusonus ERA 4 Bundles: What’s Included

The Accusonus ERA 4 Bundles are available in two different collections; the Standard Bundle and the Pro Bundle.

The ERA 4 Standard Bundle

The ERA 4 Standard Bundle is a collection of single knob audio cleaning plug-ins, that are designed for speed and fidelity with minimal effort, even if users have never edited audio before. The ERA Bundle delivers professional sound design, even to beginners. The bundle includes:

 

Noise Remover
Reverb Remover
De-Esser
Plosive Remover
Voice Leveler
De-Clipper

The ERA 4 Pro Bundle

The ERA Bundle Pro 4 is a multi-patented bundle of audio repair tools that offer both speed, and high-quality, high fidelity processing without compromise. Ideally suited for professional editors audio engineers and podcasters in advanced post and music production environments, Accusonus’ intelligent tools help save significant studio time by automating typically time-consuming workflows and simplifying workflows with single-knob adjustments.

The ERA 4 Pro Bundle includes all of the plug-ins from the Standard Bundle, and adds the ERA De-Esser PRO, a sophisticated, yet fast and easy to use de-essing plug-in. Except from the large main knob, ERA De-Esser PRO offers some extra controls to give you the granularity you need to really dive in and fine-tune the settings for when you’re fixing up a really bad recording.

Multi-Platform Support

 

The Accusonus ERA Bundle is fully supported by the following audio editors:

Avid Pro Tools 12.6 (or higher)
Audacity 2.2.2
Apple Logic Pro 10.4.3 (or higher)
Ableton Live 9 (or higher)
Cockos Reaper v5.9
Image Line FL Studio 12
Presonus Studio One 3 (or higher)
Steinberg Cubase 8 (or higher)
Adobe Audition CC 2017 (or higher)
Apple GarageBand 10.3.2

For filmmakers, video editors and YouTube Creators, the ERA Bundle is also supported in the following video editing applications:

Adobe Premiere CC 2017 (or higher)
Apple Final Cut Pro X 10.4 (or higher)
BlackMagic Design DaVinci Resolve 14 (or higher)
Avid Media Composer 2018.12
MAGIX Vegas Pro 15 (or higher)

Pricing and Availability

The Accusonus ERA 4 Bundles are available immediately and are priced as follows:

  • The ERA 4 Standard Bundle: $149.00 USD | Special Introductory Price (until July 31, 2019): $119

  • The ERA 4 Pro Bundle: $499 USD | Special Introductory Price (until July 31, 2019): $349

For more information or to purchase the ERA 4 Bundles, please visit https://accusonus.com/products/audio-repair.

Free, fully functional 14-day trials of the ERA 4 Bundles are also available by visiting https://accusonus.com/downloads.

sonible smart:comp

By
Bryan
-

In the past we reviewed smart:eq and found it to be a great tool for quickly shaping tracks’ frequency response using A.I. That very same concept is being used for sonible’s latest plugin smart:comp.

smart:comp is the latest addition to the product line of A.I. powered plug-ins by sonible. This unique spectro-dynamic compressor finds the parameters for well-balanced compression results in just a few seconds. Through frequency-selective processing, smart:comp also ensures unparalleled transparency. With this multidimensional approach, compression has evolved to the next level.

smart:comp is the synergy of intelligently enhanced time-domain compression and trailblazing spectral compression. Behind the user-friendly and intuitive interface of this new plug-in, runs the smart:engine – an A.I.-based, content-aware system designed on the basis of psychoacoustic principles as well as extensive hands-on mixing experience.

The time-domain compressor recommends the most appropriate settings for threshold, ratio, attack and release with a single click, as the spectral compression dynamically keeps an eye on the tonal balance of the input signal.

The interrelated nature of compression parameters can make the crucial task of compression time-consuming and tedious. smart:comp significantly speeds up this process and delivers results with greater precision than ever, making it a valuable assistant for mixing and mastering professionals and aspiring talents alike.

Getting the best out of a track: content-aware parametrization and tonal balance

When activating the learning mode of smart:comp, the plug-in analyzes the incoming audio signal and sets specific parameters that result in well-balanced compression – all with the familiar look and handling of a single band compressor.

The spectral compression is all about giving a track the best possible definition and maximum transparency. By continuously analyzing the input signal across more than 2000 bands, smart:comp acts like an intelligent, ultra-high-resolution multiband compressor that dynamically smoothes out tonal imbalances. It only applies compression where it is really needed and therefore ensures a consistent tonal and dynamic balance at all times.

Creating space: frequency-dependent sidechain ducking

To seamlessly merge signals that compete for attention within the same spectral regions, smart:comp ‘listens’ for potential spectral clashes between the input and the sidechain signals, when operating in sidechain mode. By dynamically ducking affected frequency regions of the input signal, it creates space for the sidechain signal.

Users’ choice – easy to use and fast

smart:comp comes with a lean and intuitive user interface that allows for easy handling of this high-tech tool. Although the plug-in greatly assists in creating a fast workflow when the smart:engine is activated, users retain their control over the final outcome and are able to access and adjust all essential parameters.

S„imilar to sonible’s smart:EQ 2, the new compressor plug-in smart:comp comes equipped with profiles for different audio sources. These profiles allow smart:comp to optimally adapt its internal processing to the characteristics of the respective input signal.

As compression is probably the most critical task in the mixing process, the development of smart:comp has been a fascinating challenge. Together with our engineering team, we wanted to take the next step in the evolution of audio compression – and now we can proudly say: We have taken it!” Alexander Wankhammer, co-founder sonible GmbH

smart:comp – key features

  • Automatic compression parametrization in seconds
  • Spectral compression for tonal and dynamic balance
  • Attack and release shaper for more creative flexibility
  • Frequency-dependent ducking in sidechain mode
  • Smart auto gain for consistent loudness perception
  • Factory profiles for content-aware processing
  • Efficient and CPU-friendly graphic processing

For more information, visit http://sonible.com

Antelope Audio Synergy Core

By
Bryan
-
Antleope Audio Synergy Core

Trailblazing pro audio manufacturer Antelope Audio is proud to formally introduce its Synergy Core next-generation signal processing platform — pairing up the phenomenal parallel computational capabilities of FPGA (Field Programmable Gate Array) processing with industry-standard DSP (Digital Signal Processing), possibly freeing up any audio production-purposed host computer’s CPU (Central Processing Unit) while processing effects with extremely low latency — via ‘hot-rodded revamps’ of its in-demand Real-Time FPGA FX- facilitating Discrete 4 and Discrete 8 audio interfaces.

Now named Discrete 4 Synergy Core and Discrete 8 Synergy Core — albeit respectively retaining the ThunderboltTM & USB Interface with 4 Discrete Mic Preamps and ThunderboltTM & USB Interface with 8 Discrete Mic Preamps phrasing boldly blazoned across already-familiar front facias, Antelope Audio’s game-changing additions to its acclaimed audio interface lineup literally give the game away. Simply speaking, Synergy Core’s industry-shaking introduction intentionally signals Antelope Audio’s objective of developing a wider range of its own effects and also collaborating with leading software developers in the industry for the benefit of all.

As such, the perfectly portable — 261 mm (W) x 44 mm (H) x 208 mm (D) — Discrete 4 Synergy Core brings best-in-class pristine Antelope Audio AD/DA conversion (capturing and monitoring audio at up to 192 kHz/24-bit resolution with 121dB dynamic range) and phenomenal processing power to the desktop. Dual DSP chips and an FPGA processor work together in perfect harmony to run Antelope Audio’s vast collection of vintage-inspired effects plug-ins plus any third-party effects joining the Synergy Core platform. Put it this way: with Synergy Core audio interfaces hosting additional effects processing via those dedicated DSP chips, computer-based recording rig stability is increased. In other words, adding a Discrete 4 Synergy Core or its Discrete 8 Synergy Core bigger brother to such recording rigs really means that DAWs (Digital Audio Workstations) can make more efficient use of available CPU power to host native effects — effectively extending the lifecycle of an existing Mac or PC, so users need not (necessarily) upgrade to the latest and greatest computer specification to run all of their favourite plug-ins anytime.

As implied by that ThunderboltTM & USB Interface with 4 Discrete Mic Preamps phrasing, Discrete 4 Synergy Core offers four console-grade, discrete mic preamps, plus a total of 14 inputs (including four LINE-1/4” JACK | MIC-XLR combi inputs for mic/line/instrument sources) and 16 outputs (including L and R MONITOR outputs and LINE OUT on four TRS connections) — expandable via ADAT IN OUT and S/PDIF IN OUT on TOSlink, and access to Antelope Audio’s unrivalled digital clocking technology through the WC OUT 1 2 connections. Talking to Macs and PCs of course comes naturally to Discrete 4 Synergy Core, courtesy of those ThunderboltTM and USB connections.

But best of all, Discrete 4 Synergy Core comes complete with a compelling library of 36 Real-Time FPGA FX for free from Antelope Audio! Worth well over $3,000.00 USD, all are meticulously modelled after hardware originals! On top of that, 35 optional additions are also available. All are automatable within a DAW without adversely affecting CPU load, thanks to the AFX2DAW bridge (currently available for ThunderboltTM on macOS only), connecting the best of both worlds by effectively amalgamating Antelope Audio’s acclaimed FPGA modeling engine with the advantages of fast and intuitive DAW workflow with near-zero latency. The ThunderboltTM driver for Windows is, however, rated as being the third-fastest audio driver in the world (with the first two only available for PCI devices). With a price-to-performance ratio that more than compares favourably to any rival ThunderboltTM or USB audio interface available anywhere, Discrete 4 Synergy Core is ideal for musicians and producers needing a road-ready recording setup that holds the creative key to unlocking unprecedented power.

Processing power is what the ‘full-size’ (rack-mountable) Discrete 8 Synergy Core is also about. Loaded, likewise, with dual DSP chips and an FPGA processor, it is perfectly positioned for mid-sized studios. Saying that, Discrete 8 Synergy Core is boosted beyond Discrete 4 Synergy Core’s consummate capabilities courtesy of eight console-grade, discrete mic preamps. Indeed, its connectivity count totals 26 inputs (including eight LINE-1/4” JACK | MIC- XLR combi inputs for mic/line/instrument sources) and 30 outputs (including L and R MONITOR outputs and two REAMP outputs on TRS connections, and LINE OUT 1-8 on a D-SUB 25 connector) — expandable via dual ADAT (IN 1 OUT 1 and IN 2 OUT 2) and S/PDIF IN OUT on TOSlink, plus a user-friendly FOOTSWITCH jack to speed up workflow. This time the pristine AD/DA conversion delivers a class-leading 130dB of dynamic range (on the monitor outputs). Of course, those same 36 Real-Time FPGA FX — ranging from classic compressors to studio EQs and must-have reverbs to tube guitar amp models based on iconic vintage gear — are also included for free. So Discrete 8 Synergy Core constitutes a sharp set of tools to take projects from inspiration to final master, making in the box recording more attractive to both the converted and newbies.

Needless to say, the existing (FPGA) effects aboard Antelope Audio’s aptly-named, newly-announced Discrete 4 Synergy Core and Discrete 8 Synergy Core audio interfaces already ensure that recording systems are optimised out of the box by allowing audio buffer sizers to be shortened and clicks and pops to be effectively eliminated; ultimately users will also be able to take advantage of dual DSP processor-hosted effects that will be developed in the future by both Antelope Audio and third parties joining the Synergy Core platform, possibly lightening the load placed on any audio production-purposed host computer, which would be better positioned to run CPU-intensive VST (Virtual Studio Technology) synths, samplers, and native time-based effects as a result.

Fusing FPGA and DSP chips in one audio interface harnessing the parallel processing power of FPGA alongside the latest generation, state-of-the-art ARM DSP chips developed for cloud computing and mobile technology — processors that deliver a faster clock rate than the DSP chips employed elsewhere in the audio interface market — makes for computing power synergies that are unique to Antelope Audio, allowing for direct development of a greater variety of effects, including choruses, flangers, and more. Synergy Core is the answer and Antelope Audio knows that for sure!

Discrete 4 Synergy Core is already available for purchase — priced at an RRP of $999.00 USD — through Antelope Audio’s growing global network of authorised dealers (https://en.antelopeaudio.com/dealers/). Or order online directly from Antelope Audio via the dedicated Discrete 4 Synergy Core webpage (https://en.antelopeaudio.com/products/discrete-4-synergy-core/), which also includes more in-depth information. (Discrete 8 Synergy Core will start shipping on July 20, 2019, priced at an RRP of $1,399.00 USD.)
Explore Antelope Audio’s full FPGA FX library here: https://en.antelopeaudio.com/hardware-based-fpga-effects/

Arturia KEYLAB 88 MKII

By
Bryan
-
Arturia Keylab 88 MKII

Arturia have released a controller fit for Virtual Instrument integration in both the studio and live environments. The Keylab 88 is the Rolls Royce of controllers. From the sleek looks, to the extra space on the right for a laptop this controller has it all. And those stands are really nice! (sold separately later).

This top-tier controller keyboard features the superb piano-feel 88 note keybed found in the industry-standard original, but with the updated feature set of the KeyLab MkII series, and an amazing software collection worth over $700.

Designed for professional musicians, session players, live performers, studio engineers, and demanding producers who want the best of the best, with no sacrifice made in terms of playability, expression, versatility, and sheer quality. Whether the proud owner of a KeyLab 88 MkII is an experienced pro, or an aspiring producer, they will make great use of the amazing included software titles, DAW control, customizable setups, and seamless integration.

KeyLab 88 MkII key features

  • 88 note, velocity sensitive Fatar TP/100LR piano weighted keybed with aftertouch
  • 9 customizable faders
  • 9 rotary encoders
  • 4 CV/gate connections: pitch, gate, mod, input
  • Perfect Analog Lab integration
  • Full integration with all Arturia software instruments
  • Universal MIDI controller: control any software or MIDI-enabled hardware
  • Powers via USB
  • Control presets for different DAWs, magnetic overlays for easy reference
  • Huge pedal connectivity: expression, sustain, 3 customizable connections
  • Mackie / HUI compliant DAW Command Center
  • Comprehensive music software bundle included
  • Optional sustain pedal and DC power supply

More information available on KeyLab 88 MkII product page.
A software bundle that dreams are made of
Made to inspire, excite, and bring out the best in every user, each model of KeyLab 88 MkII includes the following software titles:

Analog Lab
A collection of over 6,000 keyboard presets taken from the award-winning Arturia V Collection, powered their exclusive TAE® and Phi modelling technologies. Featuring every type of keyboard sound you can imagine, from analog monosynths to lush pianos, organs to digital powerhouses, samplers, string machines, and quirky modular gear. All accessible through an easy to navigate, tag-based browser, with options to add effects, create powerful combi sounds, create sets, and hit the stage with a dedicated Concerts mode.

Piano V
Arturia’s acclaimed piano studio software instrument. This software title is the equivalent of having a customizable studio full of classic upright, concert grand, and esoteric pianos at your disposal. Each one tuned to perfection, ready for you to explore. Recreated through physical modelling, you can change the tonality and response in any way you like.

Wurli V
“You’re My Best Friend”, “I Heard It Through The Grapevine”, “Get Back”, all these classic tracks used the famous Wurlitzer to pulse away with that vibrant, organic tone. KeyLab 88 MkII comes complete with Wurli V, the most accurate version of a vintage Wurli ever created in software. Now users can enjoy the same sound that captivated Queen, Marvin Gaye, and The Beatles.

VOX Continental V
A perfectly modelled recreation of the classic transistor organ whose burning tone was loved by everyone from The Doors to The Stranglers. The circuitry and drawbars behind this classic organ have been perfectly recreated in software, letting you play the sound of some of the greatest hits of the ‘60s, ‘70s, ‘80s and beyond, all from the comfort of your computer and controller.

Ableton Live Lite
An introduction to the world of Ableton Live, a high-powered software suite used by top producers, DJs, performers, and remixers all around the world. Live Lite lets you record your ideas, layer tracks, warp audio, and release your productions.

KeyLab 88 MkII is a powerful statement piece for the pro studio, “mission control” for all your production needs, and an addictively fun, expressive instrument to play and perform live. Combining looks, workflow-enhancing features, build quality, incredible keys, pads, faders, modular compatibility, and DAW controls; KeyLab 88 MkII is the full package.

KeyLab 88 MkII will begin shipping worldwide at the end of June 2019.
KeyLab 88 MkII will retail for 899€ street price / MSRP $999.

For more information, visit https://www.arturia.com/products/hybrid-synths/keylab-88-mkii/overview

Slate All Access Pass

By
Bryan
-

People may not like Slate’s marketing style or call his products overhyped, but the man makes good products and drives a hard bargain with this new All Access Pass. At $150.00 a year, his plugins alone are worth it.

Now he’s offering an entire ecosystem of his plugins, partnership plugins, and now Slate Academy. I’ve actually watched a few of his own tutorials on mixing and the guy has chops. These videos aren’t just him either. He’s got Chris Lord Alge, Just Blaze, and Sevenn.

On top of new partnerships, Slate has released its first soft synth with ANA2

I’m going to give you a tour of the new ALL ACCESS PASS that we just launched about five seconds ago. Even if you weren’t quite into the previous “Everything Bundle” which this replaces, I think it may be worth a read because there is a TON of new stuff happening, and it’s more than just plugins.

First, I want you to know that our goal with the ALL ACCESS PASS is simple: to offer you a ton of value – including plugins, virtual instruments, masterclass courses, and soon . . . MUCH more, without making you spend a lot of money.

Slate Academy:
Slate Academy aims to be the most comprehensive online music production school on the planet. Period. That’s a bold statement, which means we’ll have to do bold things.

So we’ve gathered up some of the biggest names in the industry to teach you all of the pro techniques that have made them the legends they are today.

Chris Lord-Alge is going to teach you how he gets his mixes to sound so huge. Just Blaze will show you the exact techniques he uses to produce hip-hop tracks for the likes of Jay-Z, Kanye, and more. DJs / Producers Sevenn will take you step-by-step through producing an incredible-sounding house track. Matthew Weiss will show you how he gets a huge-sounding pop mix that translates flawlessly. And Cameron Cartee will show you how he gets some of the best-sounding hip-hop vocals in the game.

Courses like these from other online schools would cost you around $300 alone, but it’s now part of the NEW ALL ACCESS PASS!

And with Slate Academy, you also get multitrack sessions in ALL MAJOR DAW formats; you get ALL the plugins as part of the All Access Pass; you get ALL the presets used in the course; and you get ALL the samples as well.

For the first time ever, you not only get to see how legends perform their craft, but also experience the entire process in your own studio, following along with every decision, every plugin setting, and every single technique.

Slate Academy also includes curriculum courses from beginner levels to advanced in all genres, as well as masterclasses in major DAWslike Ableton, Logic, and more! When you log in after joining, you’ll already see a 30-part Compression Masterclass, which will help you understand everything there is to know about this all-important tool.

Slate Academy will also be an invaluable resource for up-and-coming artists, with courses in music marketing, songwriting, and more coming soon!

Kilohearts Bundle:
For the first time in probably forever, this next announcement leaves me at a loss for words, because it’s hard to describe just how powerful the Kilohearts Bundle is. But don’t worry, I’ll try 😉

The Kilohearts Bundle adds 28 incredible new multi-FX plugins to the All Access Pass. Many of these individual plugins are truly groundbreaking. For instance, the Transient Designer is by far the best I’ve ever heard and sounds equally as good on individual tracks or full mixes.

But it’s the ability to use the 28 plugins in the Multipass and Snap Heap plugin shells that makes this bundle an absolute GAME-CHANGER!

Multipass allows you to create your own customized multiband processors using all of the 28 Kilohearts plugins. Let that sink in for a second.

Sure, you now have mastering multiband compressors, multiband stereo wideners, multiband distortion / saturators . . . but where it gets really fun and revolutionary is when you start combining everything together and stacking each multiband zone to make custom multiband processes that are impossible in any other tool.

Want a multiband processor with saturation and compression on the lows, transient enhancement on the mids, stereo widening on the upper mids, and sustain enhancement on the highs, all at once? No problem!

Want to build a custom multiband chain with a distortion on the lows, an LFO-modulated formant filter on the low mids, a reversed reverb in the upper mids, and a trance gate on the highs? Now you can.

Or even create and use more utility processors like a multiband sidechainer that ducks the low end of the bass every time your kick drum hits, so that your low end gets tight and huge. Pretty cool, right?

If this sounds intimidating, don’t worry, because there are tons of great presets to get you started, including some featured preset plugins we’ve made like Destructo, a multiband vintage saturator; Smoothinator, a de-harshing plugin; 808 Fattener, which does exactly what the name says; and even a Vintage Tube Compressor, which is a super fat-sounding limiter with a tube output stage.

And finally, there’s the 40-PART Kilohearts Masterclass Seriesthat will make you a Kilohearts NINJA!

ANA2:
Our final announcement for the NEW ALL ACCESS PASS launch is the addition of our first virtual instrument, and we’re starting with something really special.

Sonic Academy’s ANA 2 is the industry’s most groundbreaking synth, with 6 oscillators – including 3 wavetables and 3 samplers – the unique G-Envelope, 46 filter types, 24 built-in FX, and the revolutionary Chord Memory Device System, that offers instant pro chords on single keys to make producing pro tracks faster and more intuitive.

ANA 2 comes with over 500 presets, but the Slate All Access Pass version adds another 300 presets created by top sound designers, over 200 custom wavetables, and over 200 custom samples ranging from famous 808s to plucks to special FX.

Folks, I have never experienced a synth like ANA 2. The sound, the features, and the versatility are simply unparalleled. The pros who I’ve introduced it to have been floored.

And once again, we’ll help you get started with an 18-part Masterclass, which will leave you a master of your ANA 2 craft.

With ANA 2, you’ll be producing killer tracks within minutes!

For more information and to get 2 months free for signing up (introductory offer), visit https://www.slatedigital.com/

 

 

iZotope Music Essentials Bundle

By
Bryan
-
iZotope Music Essentials

Fresh off of the heels of Neutron 3, iZotope are giving back by literally giving away a huge bundle of plugins. Plus it’s for a good cause too. A portion of the

iZotope, Inc., the experts in intelligent audio technology, today launch the iZotope Music Essentials Bundle in celebration of worldwide Make Music Day on June 21st. iZotope is empowering more musicians and inspiring them to create more music with seven powerful plug-ins, at a very accessible price. The plugins included in the bundle are Neutron Elements, RX Elements, Nectar Elements, Ozone Elements, Trash 2, DDLY and Mobius. These seven plug-ins deliver powerful, award-winning audio technologies in one package that contains everything needed to bring audio projects to life. The Music Essentials Bundle will be available through July 8th.

“We’re glad to celebrate Make Music Day by giving more people access to these intelligent and powerful tools that help people make music in new ways,” says John Bigay, Chief Marketing Officer at iZotope. “We’re all about empowering musicians to be creative, and this bundle is a new, low-cost way for music producers to use our technology, plus it supports some important causes at the same time.”

 

As part of the celebration of Make Music Day, a portion of iZotope’s proceeds from the Music Essentials Bundle will go to the following progressive and impactful charities that enable and inspire music makers around the world.

  • Women’s Audio Mission – Based in San Francisco, the organization provides hands-on training, work experience, career counseling and job placement to over 2,000 women and girls every year in creative technology for music, radio, film, television and the Internet.
  • Last Night a DJ Saved my Life – UK registered charity number 1142478, creates fundraising campaigns and initiatives which connect the global dance music community with charitable action in support of children in crisis around the world.
  • Musicians Without Borders – Based in the Netherlands, the organization will receive a portion of the proceeds to support their programs in Central Eastern Africa, Central America and Europe, which enable musicians to be advocates, activists, teachers, and performers, to connect communities and heal the wounds of war.

Price: $49.00 (valued over $700.00)

Hurry up and grab the bundle, it’s a limited time offer.

To purchase, visit https://www.izotope.com/en/products/bundles/music-essentials-bundle.html

About iZotope
At iZotope, we’re obsessed with great sound. Our intelligent audio technology helps musicians, music producers, and audio post engineers focus on their craft rather than the tech behind it. We design award-winning software, plug-ins, hardware, and mobile apps powered by the highest quality audio processing, machine learning, and strikingly intuitive interfaces. iZotope: the shortest path from sound to emotion.

Founded in 2001, iZotope is based in Cambridge, Massachusetts. To learn more, visit us at www.izotope.com and connect with us on Facebook, Twitter, and Instagram.

IK Multimedia – T-RackS Tape Machine Collection

By
Bryan
-
T-RackS Tape Machine Collection

IK Multimedia has released the T-RackS® Tape Machine Collection for its industry standard T-RackS mixing and mastering software workstation. This new collection of plug-ins recreates the iconic sound and character of four classic tape recording machines from the 1960s, 1970s and 1980s: the Ampex® 440B, the Studer® A80, the MCI® JH24 and the Revox® PR99. In addition to finely detailed machine emulations, the collection also offers a selection of reel-to-reel tape formulas, variable tape speed, transport controls, and other tone shaping features.

Many of the world’s greatest songs were recorded on analog tape machines and featured the desirable and pleasing saturation, EQ and cohesion that could only come from a tape machine. Today, working with classic machines can be an expensive and time-consuming proposition. The T-RackS Tape Machine Collection offers this sought after warmth and character in a cost-effective package with a modern-day, practical workflow.

This new collection is the culmination of two years of full time research and development on real world-class machines. Each machine went through a complete electronic and mechanical renovation to bring it perfectly back “to specs” before IK’s DSP engineering team took each stage apart, studying and analyzing them to produce a model of the entire magnetic tape recording process.

This model works in symbiosis with a powerful dynamic convolution engine to capture the full essence of the real machine, and the T-RackS Tape Machine Collection faithfully brings all this magic right to any DAW.

Four pieces of history

The T-RackS Tape Machine Collection bundles together 4 new plug-ins, each also available individually:

Tape Machine 440: The Ampex 440B series dates from the late 1960’s and delivers an unmistakably soulful color that made this professional and historic mixing and mastering machine a legend. This superb blend of art and technology has the power to turn mixes into finished tracks.

Tape Machine 80: The legendary Studer A80 Mk II, in its various revisions, is an essential part of countless influential records. Engineered and manufactured in Switzerland from 1970 to 1988, it became the de facto standard for professional high-end multi-tracking. The A80’s sonic signature is a perfect blend between transparency and subtle harmonic enhancement.

Tape Machine 24: A model of the MCI JH24. First produced in 1980, the JH24 was a staple in US studios during the 1980s. This completely transformerless, high performance op-amp-based design delivers a pristine, phase coherent and remarkably true-to-the-source audio performance. This results in a moderate and elegant polish.

Tape Machine 99: The Revox PR99 Mk II is a stereo professional recorder produced by Studer in the 1980s. Engineered around a hybrid design that combines the best of discrete and op-amp topologies, this model offers a very smooth frequency response, especially on bass, with almost no trace of the typical “head bump” phenomenon. A standard for broadcast and classical music, this machine was appreciated by audiophiles for its exceptional sonic quality.

Four magic formulas

Each plug-in in the Tape Machine Collection offers a selection of four different tape formulations, each with its own unique tone.

250: Modeled after the 3M/Scotch 250 formula, it is the most colored of the four formulas. It went in production around 1974 and delivers a warm tone with slightly more distortion and saturation than the other formulas included in the package.

456: Modeled after the Ampex 456 formula, this model went into production around 1974. Perhaps the most widely used tape, it contributed the most to what is considered “the” tape sound. It offers a warm, round tone with a slight touch of saturation that greatly responds to the recording level.

GP9: Modeled after the Quantegy GP9 formula, this tape accepts higher levels of signal with minimal distortion and compression, is very punchy and perfect for modern high-quality analog recordings.

499: Modeled after the Ampex 499 formula, this tape is designed to handle a great amount of level with minimal distortion and compression. It also exhibits added high frequency definition that makes it perfect for printing “digital-like” recordings, while still maintaining an analog sound.

Comprehensive Controls
All Tape Machines Collection plug-ins share the same set of controls to enhance the ease of use and allow for quick A-B comparisons among them. Key features include:

Signal path selection: With “Input,” the signal only passes through the input and output electronic stages of the recorders, bypassing the tape. Depending on how the recorder is designed, the Input path can sound extremely transparent or just slightly more colored. “Repro” passes the signal through the entire analog recording system: input, recording amplifier, recording head, tape, playback head, playback preamplifier and output stage.

True Stereo: Even a perfectly aligned tape machine will have slight level, EQ and distortion differences between the left and right channels. The T-RackS Tape Machines Collection perfectly recreates these subtle differences to deliver the real experience. This feature can be disabled if desired.

Tape Speed: Select the speed of the tape transport between 7 1/2 and 15 or 15 and 30 inches per second (“ips”), depending on the tape machine used. The higher speed offers more fidelity, and the lower speed delivers a warmer, rounder tone.

Transport Modeling: Precisely models the behavior of the mechanical transport. Small irregularities in the movement of the tape create various degrees of sonic alteration to the audio, especially between the two channels. This control can also be disabled.

Record Bias: Ideal bias voltage settings provide maximum sensitivity and low distortion. Intentionally overbiasing is a common technique to produce a warmer, gently saturated sound. Underbiasing can be used to boost the high frequencies in a truly unique way and add distortion and other nonlinear effects.

Flexible use options
Like all T-RackS processors, the individual T-RackS Tape Machines offer two ways to work: as a single plug-in, or inside the T-RackS 5 shell.

The T-RackS Shell allows users to combine any of the 43 T-RackS processors in a single instance. Create custom combinations of processors, using both series and parallel routing, that take up only a single plug-in spot in any DAW and can be saved and recalled for lightning-fast workflows.

This Shell offers offers a unique, modular system with up to 16-processor chains, easy A/B/C/D comparison, up to 192 kHz / 32-bit floating point processing and much more, and works as both a plug-in and stand-alone mastering application.

Pricing and availability
The T-RackS Tape Machine Collection bundle and individual Tape Machine Singles are available now in the IK Multimedia online store, Custom Shop and from IK authorized dealers worldwide.

For a limited time through June 30, 2019, the T-RackS Tape Machine Collection bundle will be available at a special introductory price of only $/€99.99*. Each Tape Machine Single will also have a special introductory price of $/€79.99*.

After June 30, The Tape Machine Singles will be offered for $/€99.99* each, and the T-RackS Tape Machine Collection featuring all four machines will be offered for $/€199.99* (a savings of 50% compared to purchasing individual models separately).

* All prices excluding taxes

For more information about T-RackS Tape Machine Collection, please visit: www.ikmultimedia.com/trtapemac

To see T-RackS Tape Machine Collection in action, visit: www.ikmultimedia.com/trtapemac/video

Review: XLN Audio XO

By
Bryan
-

XO Rundown:
4 / 5 Reviewer
Buy: $179.95
Pros
- The best sample browser on the market
- Search by sample or kit similarity.
- Over 8000 radio-ready one-shots
- Song-ready presets complete with kits and loops
- Master out section with extremely useful FX
Cons
- Limited to 8 slots
- Limited to an A or B pattern
- No way of creating a full song.
- Export will not mass export individual stems of loop
Summary
For this being the first iteration of XLN's XO, they are way ahead of the game. This fresh new perspective on production lets you do just that - produce without having to scroll through pages of samples. While not perfect yet and lacking a few key features, XO is well on its way to being THE program to make inspired loops quick and pain-free.
Rating

We spend countless hours hoarding, arranging and storing one-shot samples only to spend more hours blindly searching your sequencer of choice for that perfect drum kit. The best alternative most sequencers have is to allow sorting by type, which only narrows samples down to either kick, snare, high hat, etc… The current state of samples is dismal. Finding that perfect sample is a huge inconvenience – until XO.

Overview

XO is XLN’s solution to an industry paved with missed attempts at sparking creativity. This all-in-one solution can run stand-alone, or as a VST, AAX, or AU plugin in a variety of DAW Hosts. While XO comes with over 8000 samples, you can import your entire collection as well. XO then analyzes each sample and places them in a color-coded cloud of dots called the XO Space.

 

XLN Audio XO

 

Browsing

Similar types of samples are color-coded, and the same sounding samples cluster together to form a “universe” of samples that are previewed by clicking and dragging through the XO Space. As you browse through the XO Space, the sample is triggered so you can hear it. Once you locate a sample of your liking, the similarity bar on the bottom will cycle through samples within a set radius of the selected sample. XO stores history along with the ability to easily change the Similarity sample. Browsing has never been easier.

 

Want to browse a particular sounding kick for that Trap Beat? You can further apply refinement with the search and filter. Not only can searching be accomplished via Type but also by Sample Length, Core Frequency, and something called “Drumminess,” which is a scale of how much a sample fits in the category as “being used to create rhythm.” On top of these filters, searching by name and storing favorites can be accessed in this window.

 

Applying the sample to one of the eight slots is a breeze. Once selected, click the arrow just to the right of the eight slots on the left. The slot will color code to the type of sample, and expanded controls appear at the bottom. While XO has predetermined slots, it can load any sample in each slot. Hot swapping samples is as easy as clicking the dot within the slot and selecting the one-shot from the XO Space. The slot can also cycle Similarity with the arrows on each side of the hot swap dot.

The Presets

If at first, this is a bit overwhelming, use the preset menu for inspiration. The grooves and sample choices are ideal starting points, with some quickly being final solutions to tracks. If something still isn’t quite right with samples, that’s OK; there are even more sorting capabilities. The similarity is a vast theme within XO, and a global Kit Similarity control is just under the eight banks on the left. This control searches similar samples around each bank and changes all at once.

The Edit Control

Once you’ve loaded XO with either a preset kit or preferred samples, further editing or sequencing is available in the Edit control. The Edit control transforms the XO Space window to a full-blown sequencer with an arsenal of powers. While there are the familiar controls in this window, a more in-depth look will show enhancements on virtually every knob and fader. Below is a list of just some of the notable controls.

  • Sample control allows XO to control the length, fade in and out, channel width, and phase from one menu
  • Pan control allows for HAAS mode, which delays either the left or right side of the sample for a broader sound.
  • Pitch control can slightly offset the pitch on either the left or right side.
  • Tone works like a Tilt EQ. Turn it to the left, more low-end, turn to the right, more top end
  • The Cut slider performs High and Low pass filtering
  • VelSens looks to the velocity of the sample to alter the transient based on the velocity of the note in the sequencer
  • The Playback section changes the polyphony of the note in the sequencer, mute group, reverses the sample and changes the routing
  • The groove can either be global or individual with 14 different types.
  • Nudge can let the sample rush or drag.

The Sequencer

The Sequencer section is very straight forward but limited to two bars, which is a little disappointing. Only having two bars can limit creating a song to one total set of two bars with small variations in the order of the two. The sequencer adds notes by clicking the hexagon and velocity is adjusted by clicking the hexagon and dragging either up or down to set velocity. A visual display of velocity is represented by how much of the hexagon is filled.

XO easily adds rolls by clicking the small dots under each note. This is a vast improvement over having to pencil in each note for rolls. The option to show either Bar A or B is displayed with the Show or FOLLOW will display the Sequencer according to where the loop is at any given time. A choice of either turning off the B Bar, turning on the AB Bar, or AAAB bar can be selected to change the order and length of the pattern.

 

As you can see XLN have masterfully added a ton of individual controls in such a small area without overloading the interface. The Global section at the bottom is no different. The Kit section works to adjust the Level, Pitch, and FX Sends of the whole kit. The FX Section has nine reverb, and six Delay presets to load into two slots.

Master Controls

Master Controls come loaded with a Master Soft Clip, High or Low-Cut Slider with four types of filters and a Crunch control with some seriously unique effects. Crunch features a half circle control and eight different FX ranging from low-end enhancement to all-out distortion. These FX parameters can be as subtle or outright as you possibly could want.

 

Lastly, the Edit window has one last unique control. The Accentuator changes volume in steps, and the level of each section is adjusted with four sliders. On top of the sliders, the Dice icon will randomize the Accentuator for some unique grooves. This control can either be global or deselected via the squiggly line in front of the Sequencer. Accentuator changes the loop in many ways, from making the kit sound just a little more human, or all-out mayhem infused.

The Beat and Sample Combiner

If all of that isn’t a lot to take in, we have more. Yes… more. Beat and Sample Combiner tabs take all of this even further. While these sections are daunting, it’s meant to be more of an experimental area. You don’t necessarily have to understand it to use these modes, but we will explain as much as we can to help.

 

What the Beat and Sample Combiner do is allow for different patterns and samples to be automated and swapped for incredibly unique combinations of each slot. The Random button and lock controls are your friends in this mode. If you don’t like what you’re hearing, cancel the window. While this section is fun, I wish there were a global revert to original control to use even if you click the accept checkbox.

The Export Menu

Finally, we come to the export section where XO exports audio. There are quite a few options for MIDI and Audio export, with the ability to export raw or processed single shots, full beat as WAV or as MIDI. Level exporting expands beyond the Normalize control to either output max volume or a relative to each sample in the loop.

What They Did Right

Overall XO does a LOT of things right. The interface layout is very inviting, and the sheer amount of options is astounding. The samples that come with XO are radio-ready with presets for making just about any style of loop without ever touching the sequencer. Finding the perfect sample is as easy as clicking and dragging in the XO Space. Using history shows past browsed sounds in the order they were selected.

 

The export menu also tackles an issue I’ve had with every other sampler. I dial in effects and processing on the entire kit, but most sequencers will not export these settings on each sample. XO exports each particular slot and applies the master processing blended in each into the specific WAV file. This makes creating new samples to be put back into XO a breeze. Just export them into a directory you have added in XO and have XO rescan.

 

What They Could Do Better

Let me preface this next section by saying XO has become my go-to for both finding the perfect sample and making a simple loop. However, there are several issues that I need to address that hopefully become features in later versions. I’ll start with some of the more obvious ones.

 

While XO provides several workarounds, life would be MUCH easier if some options were integrated into the interface.

 

Creating a full song:

Sure, having only eight slots for instruments is a little annoying. An easy fix in a DAW by adding another instance. Having only two bars and one loop per preset is cumbersome. This makes creating a full song in XO virtually impossible. I’m semi-OK with the stand-alone version not being able to program a whole song, but a dropdown with slots for an Intro, Verse, Chorus, and Bridge patterns would allow for saving a full song’s worth of patterns in one preset. Right now, either multiple presets have to be saved and loops exported, or the midi exported for each pattern and applied to the track in a DAW. This is time-consuming and against the spirit of XO being a conduit for inspiration.

 

Exporting:

I get that XLN have added quite a few export options, but they missed some very important export features for producers who work in DAWs. Even though XO exports a full stereo WAV file, it can’t export a loop of individual stems of instruments. When I bring loops into a DAW to mix, I want stems of each separate sample. Sure, I can solo each sound and export, but that can be time-consuming and a bit tedious. I also want the option to export either mono or stereo WAV files of each looped instrument.

 

Favorite and Random options missing from certain features:

While I have the option to Favorite and shortlist sounds, the option to Favorite Presets doesn’t exist. Also, I can randomize patterns, accentuator, and the Combiner tab, but I also would like the Random control for selecting samples for the entire kit. This would make combinations of kits I never even thought of and can spark inspiration. If the option exists in one spot, it shouldn’t be tough to integrate it into other useful areas.

What I would add

The rest of my issues are merely enhancements I’d like to see like. Below is a list of things I would like to see added

  • Ability to change the search radius Similarity to a bigger circle.
  • Ability to actually control reverb and delay instead of just presets.
  • Additional control for Crunch (for example, the ability to make the resonance control not only the pitch of the resonance but also the wet/dry).
  • In XO (Standalone) Automation of features like Pan, Crunch, Pitch, Etc…
  • Allowing the user to add Crunch individually to Samples.
  • Custom sized Window (Mac can do this but Windows can’t).
  • Ability to apply preset patterns to existing kits
  • Linking multiple instances of XO’s effects to one master XO control in a DAW

Overall Impressions:

While there are a few things XO could do differently, XO does so much more right. Overall XO is in a league of its own when it comes to its approach. XLN have made an ambitious sequencer that in its initial stage, is already eons ahead of others. The tooltips section that appears when hovering over controls makes thumbing through a manual a thing of the past.

 

After a few sessions, XO was beginning to get more use than my old go-to stand-alone sequencer and is already my go-to for sequencing in a DAW. The browsing power combined with the masterful layout of this Sequencer makes it a must-have for any producer. I highly recommend picking XO up and I’m excited to see the direction XLN takes this groundbreaking virtual instrument.

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