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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.

Auralex Acoustics Offers Standalone App RLX: Room Layout eXpress

By
Bryan
-

Auralex® Acoustics, Inc. , the world’s leading brand of acoustical treatments, is pleased to announce that its RLX: Room Layout eXpress™ acoustical treatment app is available as a standalone app available on the Apple App Store and Android App Store. The RLX app is an intuitive, automated treatment app that is specifically designed to give instantaneous recommendations for various room types and gives users the ability quickly get acoustical treatment and sound isolation suggestions on their mobile devices – taking a lot of the guess work out of determining what are the best and most effective acoustical treatment options for a specific space.

The app is both easy to use and returns immediate results. To begin, select if you need to absorb and treatment a room or if you need to block sound transmission. Then select “Room Type.” If a room fits more than one, select the one that best fits your situation. You can also use the “Edit Room” function to view multiple results for the same dimensions previously entered. The recommendations provided are based on both the type of room selected, and the suggested amount of necessary acoustical treatment or sound isolation materials required, based on your specific square footage, with Auralex’s comprehensive line of Absorption, Bass Trapping, Diffusion, and Sound Isolation products. You are also able to input various types of equipment and gear used in your room. The app will use this information to provide suggestions on applicable Auralex ISO Series™ Products that can further help your room acoustics and listening environment.

When you are ready to make a purchase, a number of our largest Authorized Auralex Dealers are listed, or you may enter your zip code to receive the contact information of the nearest Authorized Auralex Dealer. If you would like to have a permanent copy of your room results and more information, simply use the form on the app to have them emailed to you.

For more information, please visit https://www.auralex.com/tools/roomanalysis/.

Rob Papen Releases B.I.T

By
Bryan
-
Virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of B.I.T. — bringing namesake company founder and acclaimed sound designer Rob Papen’s persistent passion for subtractive synthesis into being as an aptly-named, analogue-modelled software synthesizer fit for today’s DAW (Digital Audio Workstation) workflow.

B.I.T. stands for Back In Time — an apt acronym for Rob Papen, collectively or otherwise. On the face of it, namesake company founder and acclaimed sound designer Rob Papen’s passion for subtractive synthesis remains as strong as when he first started working with synthesizers way back when, purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer at the tender age of 15 — more recently reaffirmed by self-publishing the publicly praised The Secrets Of Subtractive Synthesis combined book and DVD package based on his The 4-Element Synth© teaching method. Moving back to task — to the wondrous world of B.I.T. specifically and Rob Papen collectively, the virtual instrument and effect plug-in developer’s newest software synthesizer sets its inspirational sights solely on analogue-modelled synthesis, rather than combining the best of analogue modelling with hybrid synthesis techniques that have hitherto formed the much-admired musical backbone of the company’s classy creations.

What’s with the apparent change of musical direction, then? The concept behind B.I.T. comes down to this: classic analogue synthesizers still show an appeal that the renowned Rob Papen brand is perfectly positioned to tap in to. This is not surprising since Rob Papen himself still has a pristine example of Roland’s (former flagship) Jupiter-8 analogue programmable polysynth — purchased brand new back in the ‘dying days’ of analogue in 1983 (albeit now seriously sought after and astronomically priced) — taking pride of place in his studio setup; several other analogue classics comfortably reside there alongside it, including that ‘teenage’ Korg combo. Clearly inspired by backward progression, pure analogue-modelled synthesis is the order of the day when it comes to B.I.T. — no spectrum waveforms or samples required!

Really, making the most of Korg’s classic MS-20 requires patch cables, but B.I.T. does not need any as an analogue-modelled software synthesizer plug-in par excellence — despite demonstrating masterful modular-like attributes. An advanced MOD MATRIX makes for painless patching while a smart ADV (advanced) panel positioned below the oscillators offers a helping hand. Activating ADV allows users to quickly make useful connections, such as the LFO and ENV (envelope) to the oscillator parameters. Pushing further forward, B.I.T. also allows OSC 1 to modulate OSC 2 in several ways, which increases its sound palette to take in phase modulation, frequency modulation, and ring modulation.

Musically, of course, any Rob Papen software synthesizer would likely be viewed as being incomplete without an arpeggiator — as, arguably, would Rob Papen’s prized Roland Jupiter-8, and B.I.T. is no exception to this unwritten rule. Indeed, its fully-featured ARP can also work in sequencer mode and has an additional FREE row that can be used to modulate other elements of B.I.T. by using the MOD MATRIX.

Making it to the finish line, B.I.T. brings with it some superb-sounding effects, comprising CHORUS, DELAY, FLANGER, and PHASER, plus Rob Papen’s proprietary REVERB, so no need (necessarily) to turn to an external reverb of any kind to bring some space to the virtual instrument and effect plug-in developer’s newest software synthesizer.

So while B.I.T. stands for Back In Time it could conceivably stand for Be Inspired Today! After all, Rob Papen has added a 16-voice, authentic-sounding, analogue-modelled software synthesizer fit for today’s DAW workflow to its lengthening line-up of virtual instruments, intermixing innovative design, uncompromising sound quality, and musical, production-grade presets — over 950 this time — to make tracks truly shine. Still better, B.I.T. brings with it the secrets of subtractive synthesis, thanks to namesake company founder and acclaimed sound designer Rob Papen!

B.I.T. can be purchased from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for an introductory promo price of €79.00 EUR (including VAT)/$79.00 USD until the end of June 2019 — rising thereafter to €99.00 EUR (including VAT)/$99.00 USD — from here: https://www.robpapen.com/buybit.html
Note that B.I.T. is included in the latest version of the eXplorer 5 bundle (https://www.robpapen.com/eXplorer-5.html), so existing owners only have to download the latest installer and run it to add B.I.T. to their Rob Papen virtual instrument and effect plug-in collection.
B.I.T. is available as a 64-bit AAX-, AU-, and VST-compatible software synthesizer plug-in for Mac (OS X 10.8 – MacOS 10.14) and as a 32- and 64- bit AAX- and VST-compatible software synthesizer plug-in for PC (Windows 7/Windows 8/Windows 10) — AAX for PT 12 or higher (PC).
B.I.T. uses a serial/license system with activation when registering. (A second serial for a secondary computer is available after registering the original.)
For more in-depth information, please visit the dedicated B.I.T. webpage here: https://www.robpapen.com/bit.html

Unfiltered Audio TRIAD

By
Bryan
-
Unfiltered Audio TRIAD

Plugin Alliance, supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of TRIAD — the latest creation from fellow Californian company and plugin-creating partner Unfiltered Audio, advancing the successful outcome of last year’s award-winning BYOME (Build Your Own Modular Effect) breakthrough by combining state-of-the-art processing, versatile modulation, and dozens of powerful effects with a limitless multi-band workflow as the world’s most advanced multi-band processing plugin.

Some say that good things come in threes. TRIAD literally lives up to that saying — in name and nature. Why? Well, with an ability to split an audio signal into three bands and apply BYOME effects — themselves tapping into Unfiltered Audio’s abundant MOD (modulation) control choices via virtual cables (conceptually similar to establishing all the connections between the separate modules on a modular synth system with patch cables to generate tones and sound effects) — to each band individually, this three-pronged approach to multi-band processing par excellence easily has what it takes to stand out from the sound of the crowd.

TRIAD truly advances the phenomenal possibilities of its single-band BYOME predecessor by bringing a new level of control to the myriad of onboard effects. Essentially, then, it is a three-band frequency splitter capable of processing the LOW, MID, and HIGH frequency bands with different effect rows, consisting of 40 effect cells arranged into eight categories; each effect cell can be expanded and added to. These range from multi-band compression to frequency-dependent reverb, complex distortions to intricate delays, plus pitch shifting and an array of modulation-based effects — all of this and much more besides are a breeze to set up and control.

Readily refrain from using any of the effects — easier said than done, admittedly — and TRIAD can be used as a ‘flat-sum’ frequency splitter with adjustable cutoff points, guided by a first-rate FFS (Fast Fourier Transform) visualiser that displays the signal and allows for precise control over the band amplitudes and cutoffs on the fly. Furthermore, the DYNAMIC SPECTRAL SNAP feature allows automatic frequency cutoff balancing — an industry first, while well-crafted tools like Auto Cutoff and Unity Gain will keep the frequency distribution balanced between the bands, or even adjust the amplitude ratio without any overall volume change. Critical listening required? Simply solo or mute any of the individual bands with one click.

Changing the frequency splitting into a number of other multi-band processors — namely, 2-Band, 3x Parallel, 2x Parallel, Mid-Side, and Left-Right — maximises effect routing possibilities. Many modes have a flexible Pre/Post row that can quickly swap positions from the start of the chain to the end, turning the tables on patches for facilitating speedy sound design workflows. With that thought in mind, TRIAD features a unique Permutation engine that rotates the function of each active band. Put it this way: what, for instance, if a user had an amazing delay set up on the MID frequency band, but would rather hear it instead applied to the HIGH frequency band? Then their wish becomes TRIAD’s command by clicking on the Permutation arrows to hear it exactly as they wanted — without destroying the rest of their preset.

Presets fit for Unfiltered Audio’s latest and greatest creation have been carefully crafted by acclaimed artists and world-class sound designers to showcase its individualistic capabilities, covering functional frequency splitting to putting it through its innovative paces as the most advanced multi- band processing plugin around.

Whatever way anyone chooses to use TRIAD, variable slope allows them to change from smooth band transitions to razor sharp cut-offs (12dB to 72dB per octave). And since most DAWs (Digital Audio Workstations) include individual low/mid/high band outputs, TRIAD can even be used as a fully-routable splitter for use with any other plugin!

TRIAD takes Unfiltered Audio’s Build Your Own Modular Effect technology to new heights, combining state-of-the-art processing, versatile modulation, dozens of powerful effects, and a limitless multi-band workflow with all the power of BYONE — but now in three dimensions. Discerning sound designers and artists alike should seriously consider checking out TRIAD today, travelling to sonic vistas that they have hitherto heard only in their dreams.

Dreams have long since become reality for one of Belgium’s longest-standing techno artists and producers; progressing to become something of a tastemaker in today’s far-reaching world of techno, Tom Hades has already embarked on his TRIAD travels and likes what he has heard: “I really like the way you can create variations and modulations over the spectrum.”

Unfiltered Audio’s TRIAD is available for purchase — as an AAX Native-, AU-, VST2-, and VST3-supporting audio effect processing plugin for MacOS (10.9 through 10.14) and Windows (7 through 10) — exclusively from distribution partner Plugin Alliance for an introductory price of $149.00 USD until June 24, rising to $299.00 USD thereafter — from here: https://www.plugin-alliance.com/en/products/unfiltered_audio_triad.html
From June 8 onwards, a fully-functional, 14-day trial is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html
Note that the proprietary Plugin Alliance Installation Manager means users can select, download, and install only the products and formats needed for their system. For more in-depth information, including several superb-sounding audio demos, please visit Plugin Alliance’s dedicated TRIAD webpage here: https://www.plugin-alliance.com/en/products/unfiltered_audio_triad.html
Watch a video overview of Unfiltered Audio’s awe-inspiring TRIAD here: https://youtu.be/rPVBGrs93oc
Watch a video walkthrough of Unfiltered Audio’s awe-inspiring TRIAD here: https://youtu.be/EO1emV2O7AM
Watch the trailer video for Unfiltered Audio’s awe-inspiring TRIAD here: https://youtu.be/l7KK9IvMMSI

IK Multimedia UNO Drum Machine

By
Bryan
-

IK Multimedia announces the immediate availability of UNO® Drum, the newest member of its UNO series. Designed in collaboration with Italian analog specialist Soundmachines – the same team behind IK’s acclaimed UNO® Synth – UNO Drum offers a wide sonic palette combining fat, punchy analog sounds with digital flexibility and convenience. A robust selection of programming and live performance features and controls makes it easy for musicians, producers and DJs to add massive drum grooves to their music. UNO Drum’s compact form, battery power and affordable price make it ideal for on-the-go music creation and performance.

True analog tone and PCM flexibility
Six warm, rich, true analog drum sounds – two different kick drums plus snares, claps, and hi-hats – form the essential core kit for creating fat analog beats. Additional PCM elements (with 54 samples to choose from) provide deeper sonic flavors. They include toms, rims, cowbells, rides and crash cymbals for creating complex, unique and full rhythm tracks. Up to 12 elements can be used in total between analog and digital sounds, with 11-voice polyphony available. The analog and digital elements can be freely swapped, for sonic possibilities that go beyond the pre-set combinations. Together, these analog and PCM sounds suit the widest genres of music and musicians, and a variety of live scenarios.

A wide range of drum elements is organized in UNO Drum’s 100 pre-programmed and fully editable drum kit presets, a first in its class. This makes it easier and faster for users to find an inspiring kit they can experiment with or tweak to create the perfect groove. All sounds can be stored and recalled on the fly.

Top panel editing controls allow for adjustment of key parameters of each sound element. Users can tweak the Tuning of their kicks for sub-shaking hip-hop, adjust the Snap for punchy EDM drums, push the Decay for thundering industrial sounds, and much more. UNO Drum’s in-depth controls encourage experimentation to take drum tracks far beyond the norm.

Analog audio effects with character
For added punch and sound character that stands out in a mix, UNO Drum also offers two analog master audio effects: Drive and Compressor. Increasing the drive will make grooves hit harder, with an aggressive edge. Adding compression will result in tracks that are tighter, fatter, and more powerful. User settings can be saved along with drum kits for instant recall.

Easy to play and program
UNO Drum offers 12 touch-sensitive pads with two velocity zones, for more expressive live playing and easier programming. They can be used to play entire beats live with a pad-style feel, or to easily add live flare on top of pre-programmed rhythms.

These pads are also used to select individual drum pattern elements. Each element’s pad can be used to edit parameters for that specific drum sound, in real-time, as patterns play. This enables users to evolve tracks, build tension towards a drop, go lo-fi for a break, and more. For added performance convenience, a dedicated Tap Tempo pad is also included.

Flexible programming options
UNO Drum offers easy programming options to suit any style. The 64-step sequencer allows users to program in patterns one step at a time, using the 16 buttons across the bottom of the panel, or record a pattern in real-time. Up to eight parameters can be automated per step, to add even more variation and feel to their grooves. The Song mode lets users chain up to 64 patterns together to create extended grooves. Any of the stored sequences can be triggered live on the fly, in any order desired.

Additionally, for quick inspiration out of the box, UNO Drum also comes pre-loaded with 100 drum patterns (in addition to the 100 drum kits). Users can quickly scroll through choices and find a pattern that adds the perfect flavor to their genre, or experiment with new styles. Sounds can be swapped out or adjusted, and patterns can be instantly saved and revisited at a later time.

Head-turning performance effects
For even more performance impact, UNO Drum offers a generous set of five performance effects on the programmed patterns: Stutter (from subtle repetitions to DJ style loops), Roll, Humanize (slight randomization of velocity, timing and volume to emulate a live drummer), Swing (timing and accent adjustments) and Random (brand new pattern creations).

Integrate into any live, studio, or mobile set-up
For use at home, in the studio, in a DJ booth, and beyond, UNO Drum can perfectly integrate into regular live set-ups, computer DAW-based studios, or mobile rigs centered around an iOS device. It offers USB and traditional MIDI via 2.5mm jacks (cables included) for use with Mac/PC, iOS devices or traditional outboard MIDI gear, for a perfect pairing in any rig. UNO Drum also offers an audio input to daisy chain directly with IK’s UNO Synth or any other gear, routed through its internal compressor, with no need for an additional mixer.

On-the-go music made easy
Weighing only 400g, UNO Drum is super lightweight and small enough to fit in a backpack, yet sturdy enough to hit the road for gigging. It can also be used as a portable sketchpad to create grooves and songs that can be saved and recalled whenever and wherever they’re needed. UNO Drum can be powered by 4 AA batteries or via the USB port, either from a computer or a battery pack.

UNO Drum is available from the IK Multimedia online store and from IK authorized dealers worldwide, for the affordable price of only $/€249.99*.

UNO Drum is proudly made in IK’s own Italian manufacturing facility using a combination of state-of-the-art, automated mounting machines and test systems, and fine, renowned Italian craftsmanship.

* All prices excluding taxes

For more information about UNO Drum, please visit: www.unodrum.com

To see UNO Drum in action or watch the tutorial series: www.unodrum.com/video

Review: Pro Tools 2019.5

By
Bryan
-
Pro Tools 2019
Pro Tools 2019.5 Rundown:
4 / 5 Reviewer
Price: starting at $24.92 (Standard) / $83.25 (Ultimate) per month
Pros
- Mojave Compatibility - Noticeable overhaul under the hood runs sessions with less overloads
- Continuous Play keeps the track going while adding, deleting, and enabling tracks and plugins.
Cons
- Not very many new updates
- Pro Tools Standard can't receive Voice Packs
Summary
After a five month wait, Pro Tools has released a version for 2019. A complete overhaul of the DAW had to be accomplished for compatibility with Mojave. The under-the-hood improvements definitely show especially on sessions with bigger track count and plugin counts but not very many features were added. Overall, I'm happy with the changes that were made but really wish more functionality for sequencing and workflow would have been added as well.
Rating

After almost six months of silence, Avid have released their new version of Pro Tools. I go into this review with mixed emotions about a DAW I’m very attached to.

 

Avid’s 2019 hasn’t kicked off with the same gusto as the previous year. In 2018, it seemed Pro Tools was blazing a new path of regular updates and new features. Then came 2019, which seemed to grind to a halt. This was mainly due to the myriad of issues the team faced dealing with Mac OS Mojave. Extra time was needed to ensure that forums, websites like this one, and support calls weren’t littered with issues and complaints. After all, it’s much easier to explain “what took so long?!” than it is for “I can’t open this new version of Pro Tools!”

 

With that headache out of their way, Avid have released Pro Tools 2019.5. From what I understand, this particular update had to go through a massive overhaul under the hood for Mojave compatibility. This tune-up results in both a faster DAW and increased functionality, resulting in less “AAE Errors” and better use of your computer’s resources.

 

Because of these under-the-hood improvements, more tracks can be offered. Both Pro Tools Standard and Ultimate now allow for 1024 MIDI tracks and 512 Instrument tracks. While Pro Tools Standard stays at its 128-voice limit, Ultimate moves up to 384 voices with the option to expand to 768 by purchasing Voice Packs. These packs come in 128 voice increments and start at $14.00 a month per pack. Just to clarify, a Mono Track uses one voice, a Stereo Track takes two, and so forth with surround and beyond.

 

Some have revolted on the new “Track Tax”, saying other DAWs let the computer be the judge, jury and executioner for determining the track count. While I can understand this argument from the consumer, most of the people reading this review won’t reach the threshold of Standard’s 128 track limit. There is a small subset of people that this will affect, and my only hope is that the money they generate from selling Voice Packs go back into innovation.

 

The next feature is just as much a feature as it is a testament to the overhauled engine Pro Tools 2019 received. Continuous playback addresses the constant pauses, blips, and all out halts of playback while adding new plugin, tracks, or deactivating Sends. The continuous playback does help keep the creativity going but isn’t perfect. When using loop playback and selecting a new section to loop, in order for continuous playback to work, the arrows at the top of the Min:Secs bar have to be dragged to update. The selection tool can’t just simply be dragged anywhere in the Edit window. If you create a new loop point by dragging in the edit window, the original loop still plays. While using the arrows is a step in the right direction, only being able to change the loop area with the arrows is bit more cumbersome than dragging a new section in the edit window.

 

Tracks can now be named from the “Create New Track” dialogue box, saving a few extra mouse clicks. At the end of the track dialogue box, there is now a field to apply a track name to the newly created track. If multiple tracks are created and named, a subsequent number appears after (i.e. Acoustic Guitar 1,2,3…). Although this does help a great deal, I wish the concept would have been pushed further with maybe a dropdown box of names if multiples of one type of track were created. Say, if I create 8 mono tracks, it would be nice for a drop down to be present on the name box that allows for “kick”, “snare”, “tom”, etc… to be named. A current work-around is to individually add a new track multiple times to name each individually from the window. Hopefully they’ll expand the functionality.

 

Lastly, our final update comes for companies who run large scale productions where many users will be utilizing Pro Tools. Multi-seat licenses work whereby a server takes the place of needing an iLok and licenses are handed out on an as needed basis. Different amounts of licenses can be purchased and accessed by anyone connected to the network. This eliminates the need for a whole bunch of iLoks being moved from room to room. What’s good about the multi-seat license is after a period of inactivity, the license returns to the pool, and another person can use it.

 

While all of this may seem like little to no changes at all on the surface, a great deal has been tweaked behind the scenes. Pro Tools 2019.5 does seem to be able to handle heavy sessions with far fewer AAE errors. The ability to add and remove elements without the session stopping was one of those things I didn’t think it was that big of a deal until I started using continuous playback. All of those small stops and starts can have an effect on creativity and take you out of the moment. Overall, I can safely say that Pro Tools 2019 | Ultimate has received a significant bump in power.

 

2018 renewed my faith in Avid with all of the updates, but we’re not quite out of the woods yet. I still feel Pro Tools is not quite caught up to some of the other DAWs out there. Folder tracks seems to be a standard feature on many other DAWs half the price and for some reason Avid haven’t been able to incorporate it into the DAW. A smart solo would be another good update where busses can be soloed. I can name several more enhancements like better sequencing capabilities for electronic producers, using a QWERTY computer keyboard for MIDI, the list goes on.

 

Despite what can appear on the surface as primarily a performance overhaul with little workflow features, I’m still an optimist about Avid. These things take time and whether or not, due to necessity or love of the DAW, most of us still are using Pro Tools. So I’m grateful for the changes that have been made, a little frustrated that Avid took 5 months to release an update, but overall happy that I can finally upgrade to Mojave and add and delete plugins and tracks without Pro Tools throwing a fit.

Giveaway: Gullfoss & Cinemasound

By
Bryan
-
Who doesn’t like free? Who doesn’t like to learn? Well, if you don’t like either of those two, you’re on the wrong site. Gulfoss is an incredible EQ tool and Soundtheory, along with Cinemasound is giving away a copy of Gulfoss along with an instructional video for Adobe Audition.

Soundtheory has partnered with Cinemasound, the premier resource for audio-for-film education. Over the next 4 weeks, the two companies are publishing 4 instructional videos about using the intelligent EQ Gullfoss in post production, and each week, they are raffling off 1 license for Gullfoss and 1 free Cinemasound video course, a value of $250!

Mark Lewis, the founder of Cinemasound.com, has found Gullfoss to be an impressive tool for audio post work. He has written and presented four videos explaining how to use Gullfoss in the world of cinematic post-production. These videos provide a great resource for anyone wishing to use Gullfoss in audio post.

The first video in the series is “Gullfoss for Sound Effects in Post Production”, to be followed by videos covering Dialogue, Music and 5.1 Surround:

 

To enter the giveaway for a chance to win a license of the critically acclaimed EQ plugin and the video course “Adobe Audition 1-to-3”, go to https://gleam.io/ubYBg/soundtheory-cinemasound-giveaway.

Arturia Announce Pigments 1.2

By
Bryan
-

Arturia’s hybrid wavetable/virtual analog software synth Pigments has been updated to version 1.2, and is currently on special offer. Version 1.2 is the first major free update to Pigments since the instrument’s initial release in December 2018, refining its sequencer, adding new features, new presets, and a major improvement for owners of Native Instruments controllers: NKS compatibility.

Introducing Sound Store
Find exciting new preset sound banks from within Pigments. New themed banks will be added regularly, giving users a whole new range of sounds to explore.

SUPER mode
A new unison detune voice mode lets you beef up your oscillator up with the style of the famous “JP” supersaw.

Sequencer revamp
A new visual layout, with the added ability to set different clock divisions for each lane in the sequencer or arpeggiator.

NKS Compatible
Great news for owners of Maschine or Komplete Kontrol. Pigments is now fully compliant with Native Instruments NKS control format, instantly smart-mapping key parameters.

Extra Combinator
We’ve added a third combinator, giving you more sound-shaping potential. We’ve also introduced a new “Map” type that lets you remap any incoming modulation source.

Updated envelope
We’ve reduced the minimum value for the attack times, letting you achieve even sharper envelope modulation for super-nasty sounds.

Microtuning
Want to be a bit more free with your tuning? Now you can select alternative keyboard scales, as well as import your own .scl and .tun files.

50 new presets
We’ve added dozens more factory preset sounds that make use of the new capabilities of the Pigments audio engine updates in version 1.2.

The little things
On top of all the big new features, we’ve made lots of small enhancements too. New Aftertouch curves, Mod source hovering displays, integrated Filter tutorials, and bug fixes to give you the best experience ever.

Owners of Pigments can upgrade to the new version for free. The update to version 1.2 also coincides with the start of a special offer for Pigments, letting new users and Arturia customers get a great deal on this exciting, new, and freshly updated instrument, as well as a powerful bundle with V Collection 7.

Until 4 July 2019, anyone can enjoy Pigments for free.
Users wishing to buy Pigments during this promotional month will be able to purchase it for only $149 / 149€.
Exclusive deals will be available for existing Arturia customers and V Collection owners.

For more information, visit Arturia

Review: iZotope Neutron 3

By
Bryan
-
Neutron 3 Rundown:
4.5 / 5 Reviewer
Price: $129.00 - $399.00
Pros
- Performance boost allows more Neutron plugins on the mix without bogging system
- New Mix Assistant creates a starting point for balancing the mix.
- Improved Track Assistant over Neutron 2 means better analysis with less post analysis adjustments
- Sculptor plugin sweetens tracks on a per-instrument basis
Cons
- Mix Assistant, while helpful, comes with a lot of rules
- Visual Mixer needs overhaul with Solo, Mute, and Zoom functions
- Masking Meter needs a function to compare how individual track frequencies collide with a mix
Summary
iZotope keep pushing the boundaries of machine learning with version 3 of Neutron. A complete engine overhaul means faster analyzing, bigger track capabilities, and more powerful components. This all-in-one solution fits perfectly with any skill level. From the musician who doesn't want technical boundaries to the seasoned engineer who wants fine tuned controls in one window, Neutron 3 has it all.

Version Comparison:

Neutron Elements (v3) has:
- Track Assistant (EQ Learn only) / Sculptor / Compressor / Transient Shaper / Exciter / 150 Presets
Neutron Standard has:
- Everything above plus:
- Track Assistant (full access) / 2 Compressors, Gate, Sculptor, Dynamic EQ, / Improved output section / Peak Limiter
Neutron 3 Advanced has:
- Everything above plus:
- Each component as a plugin / Mix Assistant / Visual Mixer / Relay / Tonal Balance Control / 7.1 Surround Support
Rating

Today, iZotope released version 3 of their groundbreaking mix plugin. To coincide with the release, iZotope sent over an advance copy of… well, Neutron 3 Advanced so we could get a first look. Let’s dig in and see what’s changed.

 

Since we’ve reviewed Neutron 2 extensively on all features, we will focus on just what’s new with Neutron 3 Advanced.

 

To recap, Neutron is the counterpart to Ozone, iZotope’s mastering program. Where Ozone deals with the big picture of the mix, Neutron deals with the individual details, offering specific tools to ensure each track is processed in a way that enhances the song as a whole. To do this, Neutron 3 packs 8 individual plugins and a few other unique tricks into one entire inter-communicative ecosystem. This cohesive unit can make complex mix decisions based on other tracks armed with Neutron or Ozone.

 

It’s really quite genius and takes full advantage of machine learning technologies. Neutron 3 builds on its predecessor offering new tools and enhancements the community has asked for, a few tricks we didn’t even know we wanted, as well as a completely overhauled engine. The result is more power even faster than before. Let’s go over some of the specific new additions and enhancements version 3 has.

 

Interface:
The interface has been spruced up with controls conveniently tucked into the interface to save room for the meters. It may take a few minutes for users familiar with version 1 and 2 to get accustomed, but in the end, the new interactive “open concept” interface makes more sense. It’s much cleaner for sure and has a slight resemblance to the FabFilter interface. To change values for multi-band processing, click the color-coded area corresponding to the range you want to process – the controls will pop up color-coded for that area. The same goes for EQ, simply click the EQ node you want to edit, and the controls will appear.

 

The max number of processors that can be used simultaneously has increased from six to seven. This is due in part to the new Sculptor module’s arrival and the performance upgrade. Also, instead of having all processors constantly displayed along the top, only the processors you add are displayed. What is confusing, however, is that even after the seven processor are added, the “+” symbol still remains; but you can’t add anymore modules because they’ve been greyed out with each instantiation. After reaching out to the developers, I was told that this was a UI bug that will be fixed but I don’t really agree with putting limits on how many times one can use a processor. If you want several Transient Shapers inside of Neutron, why not allow it? It could possibly end up being exactly what the mix needed. If that extreme scenario appeals to you, the Advanced version allows for each component to be used as a plugin and you can load the track with as many as you like. In a slightly less dramatic fashion though, why not at least let the user put an EQ both before and after compression inside of Neutron? Afterall, that’s a pretty common mixing technique.

 

In addition to the visual updates, the Masking Meter has been overhauled to better point out areas where frequency collisions appear between two tracks. I ran a side-by-side comparison between Neutron 2’s masking meter and was surprised at the difference in the feedback between the two. Neutron 3’s response was a slightly faster and held on problem features a little longer, which made decision making a little easier. While this feature is immensely useful, I hope to see it expanded to work on a “mix to individual track” basis. I do use the masking meter quite often between tracks but wish it was able to, for example, compare all other tracks in a mix to the vocal and see where the music steps on the vocal.

 

A New Module:
Taking full advantage of the engine overhaul, Sculptor is the latest component added to Neutron. This module is the next iteration of the Neutrino module. Instead of building it into the Mothership plugin, Neutrino was overhauled with more profiles and placed as a component inside of Neutron 3. This “one-knob” style plugin that works on a “per instrument” basis, combining multiple processing techniques on multiple bands, all in one component. This utilizes what iZotope dubs as “never-before-seen signal processing” that pinpoints particular bands of interest in different types of audio. While this may seem complicated, all of the hard work is done behind the scenes – just use the drop-down menu inside of Sculptor, select the type of track you are working with and adjust the three controls until you like the sound. The big knob controls how much spectral shaping is desired, the tone knob works like a tilt EQ, and the Speed knob adjust the attack and release of the ballistics processing (dynamics).

 

I’m not completely sure what all is entailed in Sculptor’s processing but from my experience playing with it, it seems somewhat similar toProcess.Audio’s Sugar, whereby dynamics, saturation, EQ, and harmonic processing are performed on a per band basis. While similar, it seems to have taken this concept a few steps further. Instead of giving four bands to control, iZotope have set multiple fixed points according to what is usually accomplished by several plugins, to enhance the sound of a particular instrument.

 

It is definitely a very interesting component. Sculptor can go from very subtle to outright in-your-face. Utilizing different instrument profiles on different tracks yields fun results as well. What sets Sculptor apart from the other modules in the bundle is that multiple bands cannot be created. I suspect this is because the spectral shaping has already done the work for you, but iZotope did add the ability to hone in on a specific frequency range. This is accomplished via the nodes on the left and right side of the analyzer. Drag the sliders to taste to only utilize Sculptor on particular areas. This is where it really shines. For instance, on vocals, I select the appropriate profile and drag the sliders to enhance only the low and low-mids and dial in the amount I want to hear. To monitor exactly what I’m doing to the signal, I hit the solo button. From there, I can fine tune exactly what I want, where I want it.

 

I will admit, at first you may seem perplexed by Sculptor and not exactly get the full picture; but keep messing with it, push it to its limits, and even use the wrong profile. This plugin will find a place in your mix. My only gripe is that once you set a range to be processed, you can’t sweep the frequency range. To make any changes, each side has to be moved individually.

 

A New Assistant:
On top of an improved Track Assistant, a new assistant has been created for Neutron 3 Advanced. The Mix Assistant is a tool that will set an initial balance between all instruments in a mix, thus saving time manually moving faders. This works by either utilizing an instance of Neutron 3 or the Relay plugin (formerly the Mix Tap plugin in Neutron 2). The Mix Assistant is meant to be used before any processing or fader movement inside of the DAW. There are several ways in which the Mix Assistant can be setup – either by using the Visual Mixer or via the Neutron Advanced Mothership plugin (which is just the Neutron plugin with all components housed).

 

There are many suggested tips and tricks to using Mix Assistant and it is recommended that you consult the manual or watch the tutorial before diving in head first. Some explicit rules include the following:

  • Do not place Relay or Neutron plugin on both busses and tracks at the same time (use it on one or the other)
  • Do not place more than one Relay or Neutron plugin per track (pick one or the other)
  • Do not place either Relay or Neutron plugin on auxiliary busses like delays and reverbs.
  • Depending on how you intend to use the Mix Assistant, properly place the plugins in the correct spot on your inserts (first or last insert).

 

Although this seems like a lot of work, once you determine the manner in which you want to use Mix Assistant, it’s actually very simple. The gist is this:

  • Place Relay on each individual track or bus (but not both at the same time) and on one track place either a Neutron plugin or Visual Mixer.
  • Open either the Neutron plugin or Visual Mixer and select “Mix Assistant”
  • Choose a focal point for your mix by clicking the star next to the track(s). This is the element in the mix you want to take the forefront. This can be multiple elements.
  • Click “Begin Listening” and play the entire song so each track gets analyzed (e. you don’t want that rad clarinet solo shred session at the end to get left out in the analyzing). While you’re waiting, you can click the “Mix Tips” button to browse popular iZotope how-to’s. How thoughtful!
  • Once at the end of the song stop playback. Several groups of faders based on Neutron’s classification of instruments will appear. These can be changed if incorrect at this point with the Edit Classification button.
  • Tweak the initial groups of faders if needed. The option to bypass the assistant to compare is below the groups.
  • Once the mix is dialed appropriately, click “Accept”
  • After accepting:
    • Keep relay on the insert or the balance of that track will be lost
    • Instances of Neutron 3 can be added on busses with Relay
    • Continue mixing as you usually would

 

A few things to note after the mix is dialed in – Once accept is clicked, the group faders disappear which is a little disappointing and afterwards you have to keep Relay armed on the tracks that have used Mix Assistant. Where this can get hairy is if after a mix is accepted, Neutron is added to those tracks and you possibly want to rebalance the mix. Because of how Neutron has to set the topology for inter-plugin communication, Mix Assistant will see every instance of either Neutron 3, Relay, or Visual Mixer as its own track. To re-balance, all of the extra instances have to either be removed or rendered inactive. This limitation isn’t necessarily iZotope’s fault – they are having to work inside of an existing DAW’s rules. Hopefully in the future there will be a method where instances can be ID’ed as master and slave and bypassed during Mix Assistant.

 

Onto my qualms with the Mix Assistant. While the tool does a great job of balancing a mix, I’m having to get used to the concept of having faders at both the beginning and end. Because Mix Assistant requires faders at unity in the DAW, I found myself forgetting about Relay and wondering why I’m having to crank the faders in the DAW to get volume. I’m not sure how iZotope could get around this but I wish there were a way to automatically send what Relay’s final fader position is to the DAW’s. This is a huge task seeing as different DAWs have different coding and the interfacing for iZotope would be a nightmare. After contacting iZotope about solutions to this issue, I was however, told that the Relay faders are the same scale as most of the popular DAWs. If Relay gets in your way, you can just copy the value to your DAW’s fader manually. That’s totally doable. Sometimes the most obvious fix is right in front of your face!

 

The way I trained my brain to handle this is to simply consider Relay a Trim plugin at the beginning of the track chain. I also wish the group faders would stay available in some capacity, maybe in the Visual Mixer as a subgroup node. Having the ability to control groups in post would be helpful.

 

To assist with the multiple faders in different places issue, iZotope also recommend utilizing the Visual Mixer once the Mix Assistant is complete. Although the Mix Assistant is an interesting tool, I still find version 3’s interface lacking. First off, the interface is way too cramped. If you have more than 10 tracks, each node in the Visual Mixer is jammed on top of each other. To select the track, one has to select it from a list, which takes you out of the interactive headspace and into hunting through a list. A zoom feature would be very helpful. Also, I can’t mute or solo in the Visual Mixer, something I use constantly when mixing. On top of all of this, if I pan something, I end up closing Visual Mixer and forgetting. I then reach for the DAW pan and things get crazy. The concept is awesome. I truly wish iZotope would take all of this technology and create a DAW. Honestly, it may pull me away from Pro Tools but in the meantime, multiple mixers in a DAW is a bit chaotic for me.

 

Thoughts:
Overall, I really like the new additions to Neutron. Whether you are a musician who doesn’t want to deal with the technical or a professional wanting more control, Neutron has something for you in each of the new features. The way they somehow made room for more visuals while adding more features is no small feat. The Mothership plugin takes the place of entire chains of inserts in the DAW and takes on processing like it’s nothing.

 

While one could write the Mix Assistant off as a beginner’s tool, I wouldn’t do that so quickly. I ran several mixes through it and the results opened up new possibilities in directions I could take. I started saving a new session labeled “Mix Assistant” set the faders to zero and see what it would do. In some cases, the balances were completely different than mine and others very similar. I would then take facets of the Mix Assistant back to my mix or start from where it left off in that session. It does help to have another set of ears in the room!

 

Here’s another scenario where Mix Assistant comes through in a pinch – it’s 3:00 AM, you’re exhausted, the band has just finished tracking and is high on adrenaline. Of course, they want a rough mix to take with them right then. The last thing you want to do at that point is rough mix a song. Why not let Mix Assistant? Setup is fairly quick and within the length of the song, a balance is ready to print.

 

The same could be said about the Sculptor’s ease of use. Even though it’s another tool that handles all of the heavy lifting, the results can render new tonal possibilities. At 100%, the overdrive it places on a track can be just what it needs, at 25%, a little sweetening could be that special something you were missing all along. I’m sure in some cases it can and will be overused but that’s with any plugin of this type.

 

The performance boost is definitely noticed. During test sessions, I was placing Neutron 3 all over the mix without much hassle from the processor. I opened some of my older test sessions of Neutron 1 and 2 and noticed the system respond in more usage. Because of this, more tracks have ended up on my sessions with Neutron armed.

 

I also have noticed the Track Assistant produces better suggestions. Version 2 was good, but I found myself having to adjust a lot more once complete. Besides a few little creative tweaks, I have actually left what the Track Assistant produced on a lot more tracks. I still however wish the Transient Shaper could be incorporated into the Assistant.

 

Overall, what we have is another evolution in the right step for iZotope. While many others are following suit, no one is going quite as big and bold as the Neutron Ecosystem. Mixing music has never been more accessible to the public.

 

 

More Everything Recording reviews for iZotope:

Review: VocalSynth 2

Review: Ozone 8 Advanced

Review: Neutron 2 Advanced

Review: Ozone 7 Advanced

Propellerhead Releases PolyStep Sequencer

By
Bryan
-

Inspiration comes in many varieties and Propellerhead realizes this. They’ve created PolyStep, a sequencer that can transform notes into chords, arpeggios, repeats, and strumming.

STOCKHOLM, Sweden – June 5, 2019 – Propellerhead Software today released PolyStep Sequencer– an evolved polyphonic step sequencer plugin for your Reason Rack. With this new Rack Extension you can create and jam sequences in totally new ways by drawing in or recording notes and then apply PolyStep Sequencer’s magic tricks. Explore chord progressions and structures by grabbing single notes and dragging them horizontally or vertically to create boxes, which transform into amazing chords, repeats, arpeggios or strumming.

“PolyStep Sequencer represents a brand-new way of making music to our Reason users.” said Lukas Lyrestam, Product Manager at Propellerhead. “PolyStep Sequencer can be a straight-up polyphonic pattern sequencer, a jam-friendly phrase sequencer, a songwriter’s harmonic exploration tool or just about whatever you want it to be.”

With PolyStep Sequencer you can record in real time, with step input or graphical input. You can easily transpose your sequences in real time from MIDI input, always in scale. Go all in jamming and improvising dynamic arrangements with eight patterns, each with four variations, and switch between them manually, randomly or in sequence.

If you are into details, each note has separate properties. Set basic values like pitch and velocity, but also go deeper with probability, timing offset, legato and more. If you have dragged notes in your sequence to create boxes, the properties will allow you to set repeats, chord density and alternate voicings, as well as settings for arpeggio or strum. The scale-aware playback makes sure you get no off-scale notes, unless you want it. You also get two CV tracks to control parameters on the instruments you are playing.

Watch the PolyStep Sequencer announcement video here.
To learn more about PolyStep Sequencer, visit our website.
Pricing & Availability
Purchase PolyStep Sequencer is available for immediate download via the Propellerhead store and will retail for 99 USD / EUR.
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