PRAGUE, CZECH REPUBLIC: newly-founded federation United Plugins is proud to announce availability of its inaugural respective releases from founding independent developer triad FireSonic, JMG Music, and SounDevice Digital — namely, the AU-, AAX-, VST-, and VST3-compatible FireCobra (intelligent mix enhancer), HyperSpace (algorithmic reverb), and Royal Compressor (vintage vari-mu compressor) audio plug-ins for MacOS and Windows — as of June 3…
United Plugins founding independent developer FireSonic feels compelled to create smart, easy-to-use tools that can be put to good use on any track to make it sound better, because — let’s face it — most music productions benefit from a little enhancement here and there! With that thought in mind, FireCobra combines the accuracy of the digital world with the live randomness of analogue. After all, early engineers strived for perfection, trying to record and play back sounds as close to the original source material as possible. Paradoxically, perfection is (almost) possible in today’s digital era, yet some previously-problematic side effects of analogue are now appreciated for what they are as they simply sound better — though this is generally accepted to be due to psychoacoustics rather than the analogue devices themselves since it is now possible to achieve so much more than analogue alone ever could. Clearly, then, the superficially simple GUI (Graphical User Interface) fronting FireCobra belies some seriously savvy technology with which it intelligently analyses an audio signal to make it punchier, more powerful, and generally better sounding. Still better, it makes mixes sound better with next to no time wasted on setting it up. Ultimately, it’s simply a case of applying it to any DAW (Digital Audio Workstation) track that needs enhancing and tweaking three algorithms accordingly via their associated controls on the flexible photorealistic 3D GUI: INTENSIFY (intelligently analyses the audio INPUT and makes the OUTPUT sound tighter and fuller), SMACK (creates unique and pleasant harmonic distortion inspired by rare analogue devices to make the treated audio sound way more authentic and audible in the mix), and ANALOGIZE (adds analogue warm valve mojo based on classic analogue saturation simulation). Saying that, adjusting the DRY / WET knob, increasing its value to increase enhancement or vice versa, is all that’s needed in most cases. As a highly-optimised plug-in designed to make most efficient use of the host computer’s CPU (Central Processing Unit) and also exploiting the newest AVX2 and AVX512 architectures, the 64-bit processing FireCobra can comfortably be applied to multiple tracks to best bring out difficult to perceive elements of a mix while attenuating those that tend to drown out others — and at sampling rates of 192 kHz or even higher!
Fellow founding independent developer JMG Music makes use of complex audio processing techniques, but balances them with easy to use controls, as evidenced by HyperSpace, an algorithmic reverb plug-in. Permitting its users to easily create their own algorithms made up of various processors in a fast, intuitive way, the self-explanatory Vintage, Classic, Retro, Modern, Sci-Fi, and Cosmic modes combine various algorithms with endless possibilities for enriching tracks with a myriad of colours — from vintage plates or classic hardware to super-realistic spaces or out-of-this-world ethereal textures. But behind the scenes, those algorithms comprise complex structures with hundreds of processors running in parallel with feedback networks while each processor possesses value settings that make up the character of the resultant reverb sound. Since each value for each processor has an effect on the others there is an almost infinite number of value sets available due to such complex structures. So machine learning was used to qualify over 20 million value sets, selecting only the best combinations for use in this 64- bit, 192 kHz (or higher) high sampling rate plug-in. Putting that into its user-friendly perspective, HyperSpace offers an amazing amount of control to create a reverb that’s unique to its user’s needs. Needless to say, it does that through an easy-to-use, resizable GUI with a super-clean background that effectively disappears, leaving users to focus on the controls that really matter. Moreover, these are divided into colour-coded zones — pink (controls the sound character of the reverb), blue (contains the main characteristics for creating a virtual space), orange (contains four special effects for creating spaces), and green (contains a group of processors designed to help the reverb sit better within a mix, so sounds are no longer pushed back in the mix, losing focus and clarity) — to ease navigating through HyperSpace. Helpfully, the plug-in’s parameters offer extreme value ranges to maximise flexibility while having the most useful values tuned to the centre of the controls so users can quickly find their sweet spot. Separate Wet and Dry controls maximise reverb balance, with a link option offering the typical mix behaviour found in most other plug-ins, while time-based parameters can be synced to the host tempo. The three dice symbols are smart randomisers that dial in useful settings for great-sounding reverbs in just one click, from subtly changing the character of an existing sound or unleashing chaos to surprise and inspire, while the wide range of onboard presets programmed by professional sound designers and producers truly showcase the sonic beauty of HyperSpace, however users choose to use them — whether for convenience or as an inspirational starting point without slowing down their creative workflow.
Rounding out newly-founded federation United Plugins’ founding independent developer triad (when placed in alphabetical order), SounDevice Digital is named after Czech musician, composer, and record producer Boris Carloff’s Prague-sited SounDevice Studio, which is where its ideas are conceived — creating convenient tools that are missed or needed while working there. That said, Royal Compressor is inspired by modelling three examples of a British vintage vari-mu compressor classic that dates back to The Beatles’ Sixties heyday, helping to shape hundreds of renowned recordings. Realising that the three devices in question sound somewhat different to each other by virtue of originally being built by hand steered SounDevice Digital towards the idea of merging them into a single, peerless plug-in. Put it this way: warm and pleasing-sounding compression attributes applicable to any kind of audio source material are readily on tap, thanks to the simulation of those vari-mu circuits central to Royal Compressor. Its clear-cut GUI features few controls, clearly influenced by yesteryear’s analogue era when manual mixing was the order of the day, yet those controls can dramatically alter any audio that they are applied to. They collectively bring about a welcomed vintage vibe to the compressed result, which is, of course, what Royal Compressor is all about. A MODEL knob allows users to instantly switch between the three different models of circuitry (A, B, and C), each with a different value for fixed attack. AUTOGAIN keeps the output signal at the same level, regardless of how high the INPUT CONTROL is set, so serious saturation always abounds. And, unlike those original vintage devices from which it draws its inspiration, Royal Compressor features an adjustable SATURATION control (based on a random saturation algorithm which creates the effect that valve hardware has when brought into play). Performance-wise, while Royal Compressor operates on a high internal sample rate, truly twenty-first-century simulation technology maximises its exceptional sound while minimising CPU load. Letting state-of-the-art simulation speak further for itself, Royal Compressor comes complete with a so-called ‘second-hand’ edition. Even semi-broken machines still serve some studios well, with functionality perhaps limited to only one feature, yet they can still bring something special to the production process. Which is exactly what this freebie from SounDevice Digital does!
United Plugins Opens Online Doors with 3 New Plugins
Review: Arturia 3 Compressors You’ll Actually Use
- Excellent recreations of their analog counterparts
- Advance mode has just about every option an engineer could want for sculpting transients
- For so many options, layout is simple, everything is easy to find
- Resize window has issues going past 100% - Needs actual Mid-Side Compression mode and not just detection.
There is no doubt Arturia make some of the most accurate digital versions of retro analog synths, but can they do the same for hardware compression? I go into this review cautiously optimistic. Let’s see if they live up to the plugin bundle’s name and actually become “3 Compressors You’ll Actually Use.”
This is a very tall order given the immense landscape of existing plugins that model vintage gear. I’m sure you can browse the reviews section of this very site and see several plugin versions of the 1176. All of which begs the question, “why another 1176?”
Arturia’s “3 Compressors You’ll Actually Use” (or referred to as “3 Compressors” from now on) takes on several pieces of analog gear:
- Comp FET-76:The aforementioned ubiquitous 1176
- Comp TUBE-STA:A mix between old and new, modeling the Gates Sta-Level and Retro STA- Level tube compressors.
- Comp VCA-65:The more modern cousin to the DBX 160, the 165.
Aside from the “every company makes a version” 1176, the choices of digital recreations are quite intriguing. Off the top of my head, I can only think of one 165a plugin made, and the fact that they modelled the Retro and Gates STA-Level shows some uniqueness on Arturia’s part. Still, a lot of soft-synth companies try to venture out into outboard processing and end up making bland, underwhelming versions. Enough of the intro and skepticism, let’s dive in.
Off the bat, I’m sure Arturia knew they had a tough road ahead of them and they come straight out of the gate swinging with these compressors. Functionality is of high importance when using a soft-synth and Arturia brought that same spirit with them into the plugin world. Upon opening the plugin the first time, a guide pops up to show you the ropes. It points to the various controls for each plugin and highlights how each work. Even after the intro, hovering over a control will display more info at the bottom of the interface (although some of the descriptions go past the screen boundaries with no way of seeing the rest of the text).
The presets for each also have a unique feature called “Tooltips” which highlight controls of interest and display just how much compression was intended for the preset. After all, different default presets were designed with different instruments, players, and mics, so having this extra push in the right direction helps. Tooltips can also be created via the advanced Tooltips section which allows the user to set the suggested compression range and highlight knobs of interest.
On top of functionality, you will see the same attention to detail that makes their soft-synths’ interfaces some of the best looking in the business. These plugins are no different, with true-to-life digital recreations of the famous hardware. The interface can also tackle screen real estate via the “Resize” control inside the plugin’s settings. People on the go will appreciate the needed real estate with a 60% version while the people at home with the massive ultra-wide panels will like the spacious 200%. Just watch out. In my version of Pro Tools, anything over 100% zoomed into the center of the interface and I couldn’t resize the plugin. I had to take the plugin off of the insert and open a new one, which crashed Pro Tools, but if you’ve read my review of Analog Laboratory, you’ll know the struggle of glitches and bugs with Arturia rages on.
While we’re on the subject of glitches and bugs, just go into the experience knowing several are possibly going to pop up. Initially, the Arturia Software Center (ASC) for Mac was my first barrier. The program is slow to load, and login so be patient. I ended up manually searching for each plugin and installing it from the package once it was downloaded from the ASC.
Along with the added features, they’ve catered to the purist and anarchist alike. For the purist, the standard interface greets you upon opening. For the more adventurous, lurking just below each vintage looking faceplate is an “Advanced Mode” which adds tricks not able to be accomplished with the old units.
Simply click the double arrows on the top right of the interface and the Advanced Menu pops up. While each unit has similar side-chain and detector additions in advanced mode, compression range and even look-ahead detection can be dialed in and on the COMP FET 76 and the COMP VCA-65, giving even more fine-tuned control over transients. Each compressor has a “Listen” control on the Advanced Mode that allows for the detection circuit to be heard. Having this is useful for determining just what is triggering the compressor and pairing it with the side-chain EQ makes the Listen function even more helpful. The sidechain EQ gives a High-pass, Low-pass, and Band EQ to allow certain frequencies priority on detection or to be bypassed altogether. Ever thought of using an 1176 as a De-Esser? Probably not, but you can now! Just high pass with the Listen feature engaged, spot the sibilance, and compress.
Detection is also versatile on each compressor with the ability to choose between Linked Stereo, Dual Mono, Reversed, Mid Only and Side Only. Each mode adds subtle changes to how audio detection triggers the compressor and offers more options for dynamics control. The side-chain source can be toggled between internal and external side chain with the option to increase the side-chain gain with a knob just below the source switch.
Lastly, each plugin features Arturia’s True Analog Emulation (TAE) which is what makes their synths some of the best sounding in the industry. The same technology goes into making these compressors as true to life as the original analog gear. If you just want a little vibe on the tracks, each compressor’s power switch will turn off compression, allowing just the True Analog Emulation “virtual circuit” to impart its own flavor.
COMP FET-76
Let’s start with the COMP FET-76. On top of the standard controls we all know and love, Arturia have added extra controls missing from almost every 1176 plugin. The input and output controls can be linked with the small button between the two knobs. While this control does not level match to compensate for volume, it is a decent starting point. A mix knob on the right also makes dialing in the right amount of compression easily.
Coupled with the Advanced Mode, this is easily one of the most versatile and scalable versions of an 1176 plugin. The COMP FET-76 can be every bit of an 1176 when you want it, but much more with the click of a button. While it would be very easy to overcomplicate things, Arturia really did a great job of placing a myriad of controls in one elegant interface.
Sound-wise, it doesn’t really sound like any of the other 1176 plugins I have, which actually is a good thing. This particular model has its own thing going for it. Yes, it accomplishes what an 1176 does, it just does it with a different flavor. It has a whole lot of color and in most cases, that’s exactly why you reach for this type of plugin. I would attribute that to the True Analog Emulation and the particular model(s) that were used. After quite a bit of use, the COMP FET-76 became my top go-to 1176 plugin. Even though the other ones still serve a purpose, I like the sound of this one a little better. There is just a little more depth in the compression, especially when digging in. The Time Warp control is another welcomed feature on the FET-76, allowing for look-ahead capability on an already fast-reacting compressor. The compression Range knob also comes in handy to put even more dirt into the sound when dialed back with heavy compression.
I honestly went into the review of another 1176 plugin very unenthusiastically but came out very surprised. Arturia have added several new tricks to what I thought was a “played-out” concept. The only gripe I have is if Arturia is going to make a versatile 1176, why not include more revisions of the 1176 – maybe even some lesser modeled version like the silver face. At least give me a blue stripe model. I really do like what they’ve done with their particular model of the 1176, so much that I just want to see more.
COMP TUBE-STA
While I don’t have direct experience with the Gates Sta-Level and only a little interaction with Retro Instrument’s hardware version, I know the overall feel this compressor imparts to tracks. This particular compressor is a very forgiving one. Built originally for TV broadcast, the Gates Sta-Level’s tone and mild-mannered tube saturation made it a must have in recording studios in the 60’s. Now Arturia have taken both into consideration and brought it into the age of digital recording.
The TUBE-STA brings over all of the original simple controls as well as some extra to make it even more useful. Unlike the FET-76, the TUBE-STA does not feature all of the Advanced Mode features the other two compressors have. Namely the Timewarp and Compression Range control. This is most likely due to the nature of this compressor. Since it has a slower attack and release, the Timewarp wouldn’t really attribute to function of this model. I did however want to see the Compression Range on this one just out of curiosity of what it would sound like.
The controls are simple. To compress, turn up the input. The TUBE-STA has the same input output linking that the FET-76 has, so dialing in the right amount of compression is a bit easier but not level matched. For Modes, you have Single, Double, and Triple. These modes determine both the attack and release times. Single mode has a very slow response to allow transients through, Double behaves more like the original Gates version with program dependent response, and Triple mode responds more like the Fairchild compressor is a faster attack time and slightly slow release time. Further control of the release can be controlled with the Recovery Time knob, which goes from 2 seconds all the way to a very long8 seconds of release. Lastly, this compressor has a compression bypass switch to just use the TAE, an Output knob and the same mix control as seen in the FET-76.
Sonically, this unit is just like my wife, sweet and forgiving… On vocals and pads, the TUBE-STA can handle heavy gain reduction without being overt. It does just what a compressor of this type should do, tame dynamics and enhance the tone. Of course, pushing the input hard and blending with the mix knob yields more in-your-face results, but in the overall scheme of picking three different types of plugins, Arturia have done great with this one. I honestly have no complaints on this one. As far as software emulations of tube gear, the TUBE-STA is right up there if not better than any other tube-based plugin compressor.
COMP VCA-65
So far, we’ve covered a transistor compressor and a tube compressor. To round out this bundle, the last compressor is a VCA compressor based on the dbx 165, which is an expanded variant to the dbx 160 VU. This compressor features the same Threshold, Compression, and Output Gain knobs while adding a few more controls to further shape transients. An Attack and Release section complete with an Auto button was integrated into the 165 as well as a rough Peak Limiter. Arturia have added the same controls as the original 165 as well as the same Advanced Mode the FET-76 has.
While Arturia have kept the same RMS detection as the original, after reviewing the Valley People Dynamite by Softube, I really liked the versatility of changing the detection from RMS to Peak. I would have really liked to see a control on the VCA-65 to switch between Peak and RMS detection. After all, if we’re going for versatility in the spirit of Advanced Mode, more options make for more fun.
In operation, the VCA-65 is probably the most versatile out of the three. This compressor can be clean and surgical or outright in your face and filthy dirty. The Peak Stop Limiter doesn’t take much nudging to completely crush transients, distorting them in the wake of its path. Both electronic or acoustic drums will love what this compressor does to the character and just about any vocal track can benefit in some way from this compressor. The Auto function is great for determining the optimal attack and release of the specific compression you are going for and makes for quick setup. However, if you want to dig deeper, the quick attack and release can yield interesting results. I think out of the three, this one stands out as one of my favorites. There’s just so much it can do.
Overall Impressions
I would say, Arturia have lived up to the name. The variety of compressors tackle just about any application needed and they do it superbly. They’ve found a way to add advanced controls without getting in the way and the presets are further enhanced with the Tool Tips. I found each of these compressors unique in their own light, which in the case of an 1176 style plugin isn’t easy.
Where I feel the compressors fell short are in a few areas. While I like the Input and Output linkage, I wish this were in the form of either a “Command Click” style control or a linkage knob instead of a button. That way I’m not having to click the link button, adjust, and then unclick the link to fine tune. It’s just less mouse clicks. While I liked the detection modes, I wished I could actually compress Mid / Side inside the interface and not just detect from it. The “Tool Tips” section is a fantastic starting point for presets, I just felt it wasn’t pushed as far as it can go. The ability to add text notes to each control or highlight a range of other controls similar to the VU meter would make this even more helpful. It’s a good starting point. I just would like to see it expanded.
While these are mainly workflow issues, this does not take anything away from how great these compressors sound. The interface is exactly what you want, when you need it and advanced controls can be tucked away if not wanted. You would also think this much graphic interaction and processing would be heavy on CPU, but I actually contacted support because I thought the CPU meter wasn’t working on my plugins. It used that little CPU.
I really see a lot of care went into making these compressors. Arturia have designed a set of plugins that look as good as they sound. I look forward to seeing what they release next.
Ambient Guitars by Leo Abrahams – Spitfire Audio
Spitfire Audio is back with a new library of moody guitar tracks bathed in reverb. This Kontakt library. Ambient Guitars is an additional foray by Leo Abrahams featuring custom riffs from the man himself.
LONDON, UK: Spitfire Audio is proud to announce availability of AMBIENT GUITARS — creatively combining 2013’s LEO ABRAHAMS – ENIGMA collection of dark, cinematic soundscapes exclusively created and performed by its innovative virtuosic guitarist namesake, and expertly sampled by Spitfire Audio, and its equally popular, previously-released ENIGMA 2 – THE RAPTURE followup forming a more extensive tribute to distortion, now presented in the sound-specialising British music technology company’s exceptional eDNA engine-powered UI (user interface) as an intuitive, instantly-playable collection of inspiring and modern cinematic sounds, textures, and loops ranging from ambient to apocalyptic, including 10GB of brand- new recordings and 160 additional artist presets — as of April 18…
Available for Native Instruments’ free KONTAKT PLAYER platform with full NKS (Native Kontrol Standard) support, Spitfire Audio’s aptly-named AMBIENT GUITARS sample library is an instantly-playable, intuitive toolkit designed for any discerning media composer or producer looking for fresh sounds and atmospheric textures with an experimental edge. The road to arriving at AMBIENT GUITARS was a long and winding one, spanning several years. Yet it is one that was well worth waiting for, definitely destined to join its popular predecessors as a firm favourite amongst discerning directors and composers alike.
Time to step back, briefly, in time to 2013. This was the year that saw Spitfire Audio decamping to The Pool, a cool and vibe-ridden recording studio launched as a joint venture between songwriting producer Ben Hillier and the Miloco Studios group in the South London district of Bermondsey. Having hosted luminaries like Arctic Monkeys, Nick Cave, Depeche Mode, Noel Gallagher, and many more, there the British music technology company’s sampling specialists set about capturing world- renowned producer and virtuosic guitar innovator Leo Abrahams’ cutting-edge techniques. “There’s such a wide variety of emotions and textures available from different pedals and guitars,” he notes. “I find I hear far too many guitar tones in soundtracks that sound generic and cheesy. I wanted to put the result of my compulsive years of eBay scouring at people’s fingertips.”
Fortunately for all, that wish was realised with the resulting release of LEO ABRAHAMS – ENIGMA, a sample library like no other. Created largely from a Trussart guitar — alongside a 1960s-vintage Gibson 335 and a Danelectro Hornet — plugged into Leo Abrahams’ rare and unparalleled collection of pedals and amps, discerning directors and composers collectively delighted in the discovery of over 400 presets comprising weird- and wonderful-sounding guitars; reverberant pads; dark, distorted plucks; warped pedal effects; and synths. Thereafter, the ENIGMA 2 – THE RAPTURE collaborative followup formed a more extensive tribute to distortion.
Today, though, the Distorted collection of sounds formerly known as ENIGMA 2 – THE RAPTURE join those original 400-plus presets in AMBIENT GUITARS as 18 tight and punchy distorted electric guitar instruments with a wide range of sounds and characters, recorded through three amps and a variety of pedals. Perfect for adding layers of distortion and feedback, or creating walls of sound or devastatingly-haunting, dark, distorted beauty, it sounds clean, but with a vibe-ridden room sound.
Such was the success of LEO ABRAHAMS – ENIGMA and ENIGMA 2 – THE RAPTURE — rapidly becoming go-to collections for creating cinematic soundscapes, inspiring music-makers the world over — that Spitfire Audio allowed itself to record a new collection of sounds with Leo Abrahams. Inspired by its immediately-playable LABS Peel Guitar — gloriously distorted, yet chime-like and full of character (originally sampled by Spitfire Audio co-founder Christian Henson back before the company existed in 2006) — recently released for free, this time the trailblazing guitarist was welcomed into Spitfire Audio’s own London-based studios in 2019 to create a whole new textures collection called Amped Guitar Pads. Professionally crafted by Spitfire Audio founders and award-winning composers Christian Henson and Paul Thomson, this resulted in an additional 160 artist presets being included in AMBIENT GUITARS. “If I’m ever asked to make something sound cool, the samples we’ve created with Leo Abrahams are the ‘get out of jail’ card I can always turn to.” So says Christian Henson himself. He should surely know!
Needless to say, these versatile, contemporary-sounding soundscapes are sometimes unrecognisable as guitars — glistening passages to guitars warped beyond recognition, plus ultra-realistic, fast-action picking to add movement and percussive elements are all there for the taking.
Taking AMBIENT GUITARS to a whole new level of inspirational guitar-generated sounds, the Evolutions collection is presented in Spitfire Audio’s advanced 16 x 16 Evo Grid — inspired in no small part by the British-built EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pegs — putting four different amps and patchable signal paths into its user’s hands to add an element of the unexpected to compositions.
Clearly, the organic origins of AMBIENT GUITARS bring honest emotion to any composition that uses it, while the analogue distortion involved imbues an authentic layer of grit and depth that is not achievable with digital distortion. Each and every sound therein will layer into the mix perfectly, adding a timeless experimental edge to a wide range of settings — from inner city scenes to desolate, sweeping vistas — for film and game composers or enlightened electronic and pop producers alike.
As a trailblazing composer, musician, and producer par excellence, Leo Abrahams has recorded and toured with the like of Imogen Heap, Grace Jones, Pulp, and Roxy Music, written for and produced Editors and Florence & The Machine amongst other artists, as well as making his own records, including The Unrest Cure (featuring Brian Eno, Ed Harcourt, and KT Tunstall). He has also composed scores for movies such as The Lovely Bones (with Brian Eno) and Hunger (with David Holmes). It is little wonder, therefore, that he worked so well with Spitfire Audio and that the resulting AMBIENT GUITARS works so well!
“When I’m writing, I often build a sound first and let the composition evolve,” explains the innovative virtuosic guitarist who has happily lent his name and talent to Spitfire Audio’s latest library release. Who better, then, to bring the heavily processed proceedings to an appropriate close than Leo Abrahams? “I hope that some of the guitar sounds on offer here will inspire other people to do the same, and that some of the ambient sounds are helpful when what’s needed is neither a synth pad nor an actual ‘part’, but just a bit of atmosphere. I hoped we could capture a sense of danger and abandon.” AMBIENT GUITARS does that admirably… and a whole lot more!
AMBIENT GUITARS can be purchased and digitally downloaded for a time-limited introductory promo price of £199.00 GBP (inc. VAT)/$249.00 USD/ €249.00 EUR (inc. VAT) until May 2, 2019 — rising thereafter to an RRP of £249.00 GBP (inc. VAT)/$299.00 USD/€299.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/ambient-guitars/
For more in-depth information, including superb-sounding audio demos, please visit the dedicated AMBIENT GUITARS webpage here: https://www.spitfireaudio.com/shop/a-z/ambient-guitars/
Watch Spitfire Audio’s dark indie movie-inspired trailer video — a cinematic style to which AMBIENT GUITARS is seriously suited — here: https://youtu.be/mSPZM17g9Es
Pro Tools Releases 2019
After over 5 months of no updates and a few setbacks, Avid have released Pro Tools 2019.5. This update features several new workflow updates to streamline changes on the go.
BURLINGTON, Mass., May 9, 2019 – Avid® (Nasdaq: AVID) today announced the immediate availability of Pro Tools® 2019. The latest version of the industry-standard digital audio workstation boosts power and performance for every level of user—from professional music creators and aspiring artists to top-echelon audio post professionals and engineers—enabling them to work faster and more creatively on the most complex projects.
For users working in high track-count environments, such as audio post production, Pro Tools | Ultimate delivers 50 percent more voices/audio tracks than previous versions. In addition to this base voice limit increase to 384, Pro Tools | Ultimate software and HD Native customers will be able to further increase the number of available voices up to 768 per system—on par with a three-card Pro Tools | HDX system—with the addition of native Pro Tools | Ultimate Voice Packs. The ability to scale the number of voices in Pro Tools | Ultimate software enables a greater degree of flexibility and power to tackle the most demanding work and when working in tandem with high-powered HDX systems.
Additionally, this release of Pro Tools has enhanced playback features that enable more fluid creativity in the software. Users can perform seamless track and timeline interactions during playback—inserting plugins, adding or deleting tracks, changing routing, adjusting loop duration and more. This suite of playback features allows users to work quickly, and therefore more productively, without playback errors disrupting their flow.
“It’s amazing to think that our existing Pro Tools systems can inherit so much additional capability with a software update such as this one,” said re-recording mixer Jonathan Wales. “These are the features we’ve been dreaming of and they were highly ranked in the Avid Customer Association’s annual vote. It’s extremely exciting to have them arrive. This is a huge release, because not only do we get a massive increase in power—with more voices in Pro Tools | Ultimate—but the speed is unbelievable. Not having the playback stop while inserting plugins or routing tracks is an incredible revelation and will only encourage creativity further.”
For Pro Tools | First users, they can now create and save an unlimited number of projects locally. Users can selectively sync up to three projects to their complimentary cloud storage for easy access anytime, anywhere.
For facilities and institutions, Avid also announced the immediate availability of Pro Tools Multiseat Network Site Licensing. Multiseat licensing enables easy administration of multiple Pro Tools seats from a single account and local server, eliminating the need for a multitude of physical iLok dongles and cumbersome site management.
“Our goal was to deliver new features for every kind of user, whether they’re working in audio post production, or music creation, and whether they’re a Pro Tools | First user just starting out or a Pro Tools | Ultimate user at the peak of their career,” said Rob D’Amico, Director, Audio Solutions Marketing at Avid. “Every year, we continually deliver Pro Tools updates to subscribers throughout the year, giving them the capabilities they need to deliver their best possible sound and keep their creativity flowing.”
For the full list of Pro Tools 2019.5 features—including support for macOS Mojave—visit avid.com/products/pro-tools-ultimate/whats-new.
Roswell Dephos II Condenser Mic
Finding a mic without overhyped frequency response can be tough. It seems every manufacturer wants to put their spin on microphones. The original Delphos tackled this with gusto. Version 2 brings along a figure 8 pattern and updated electronics.
After a successful debut at the 2019 NAMM show in January, Roswell Pro Audio®, maker of premium boutique microphones, is now shipping their new Delphos II® all-purpose studio condenser microphone.
The original Delphos® featured an un-hyped and natural frequency response, high sensitivity, and low self-noise. The Delphos II retains the characteristics of the original and adds athird polar pattern (figure 8) and refined electronics designed to reduce ultrasonic noise. These new featured are all housed in a new, larger body adorned in custom metallic blue paint.
“We originally built the Delphos for recording engineers looking for an ultra-clean FET sound,” said Roswell founder Matt McGlynn. “This new version has been updated based on user feedback and the result is another mic in our line that we’re very proud of, particularly on vocals and acoustic guitar where its balanced frequency response, low noise, and high output outperform most competitive offerings costing much more.”
The Delphos II uses a highly optimized transformerless circuit, which provides a pristine, low-distortion signal path. Two switches provide a choice of Cardioid, Omni and Figure 8 polar patterns, as well as a 10 dB pad. The mic has a frequency range of 20 Hz to 16 kHz, with a response curve carefully tailored to provide full lows, neutral mids, and high-frequency detail without sibilance. Its sensitivity is 40mV/Pa, with a self-noise level conservatively rated at 12dBA.
The microphone’s circuit is built by hand in the US, using the finest components sourced from around the world, including low-noise NOS transistors and audiophile capacitors. Each Delphos II is assembled in California, burned in, and extensively tested after manufacturing to ensure the best possible performance.
The Delphos II ships in a custom, heavy-duty flight case with a proprietary Roswell Cutaway shock mount.
The Delphos II is now available Roswell Pro Audio’s network of U.S. dealers or at https://www.roswellproaudio.com for $999 MSRP.
Propellerhead Figure and Take
Propellerhead have acquired two already great mobile apps for creating music, Figure and Take. These two apps take on sequencing and recording to make tracks on the go.
Propellerhead Software today announced the acquisition of Figure and Take music making apps from Allihoopa. Newly updated and immediately available for free on the App Store, the universally acclaimed Figure and Take apps join the Reason family of music creation tools.
“These apps make great companions to Reason,” said Hanna Åstrand, Product Manager. “They give musicians super starting points for their ideation, from creating a beat in Figure to taking a Reason track offline for vocal or lead line recording in Take. We’re working hard to make the apps even better with more inspiring sounds and beats and tighter integration with Reason. Stay tuned!”
Adding to Propellerhead’s family of iOS music making software apps, Figure and Take take their place alongside Reason Compact and Thor synths. All the apps work with Reason, the integrated software music production studio with audio recording, million-dollar mixing, built-in collaboration tools and a massive collection of instruments, sounds and effects.
Availability and Compatibility
Figure and Take are available now for free in the Apple App Store. Users who already have the apps installed will receive updates automatically on their iOS devices.
Both Figure and Take require iOS 11.0 or later. Compatible with iPhone 5s or later, iPad Air or later, and iPod touch.
Download Figure: https://itunes.apple.com/app/figure-make-music-beats/id511269223?ls=1&mt=8
Download Take: https://itunes.apple.com/app/take-creative-vocal-recorder/id887834536?ls=1&mt=8
Avantone Pro – CLA-10A
It’s no secret what Chris Lord-Alge uses to get his signature sound. Now he’s teamed up with Avantone to put their spin on a classic.
TALLMAN, NY, USA: affordable high-quality audio products producer Avantone Pro is proud to announce upcoming availability of its CLA-10A — an active studio monitor system following hot on the heels of last year’s CLA-10 passive studio monitor and complementary CLA-200 Studio Reference Amplifier, both developed in close collaboration with GRAMMY® Award-winning mix engineer Chris Lord-Alge (to whom they not only owe their shared ‘initials’ but also their very existence) — at The 2019 NAMM Show, January 24-27 in Anaheim, California…
Avantone Pro unleashed its CLA-10 classic studio reference monitor — manufactured as a full-range, two-way passive pair for fixed or remote locations while also accurately recreating an iconic studio monitoring mainstay, much loved in the music industry among pop and rock recording engineers to this day as a valuable mixing tool with which to reveal shortcomings in recordings — upon an unsuspecting world in June 2018; it has since become the number one-selling passive studio monitor in the world. Within months, the complementary CLA-200 Studio Reference Amplifier successfully filled the void for a reasonably-priced, classically-designed Class A/B amplifier as a dynamic, high-output, high-resolution, full-range system built the ‘old school’ way.
With today’s timely announcement, Avantone Pro is all set to divide and conquer with its CLA-10A active monitoring system. Said system shares the same 35mm AV10-MHF high frequency silk dome-based tweeter and custom-designed 180mm AV10-MLF low-frequency driver — based on paper cone construction with ‘old-school’ speaker design artistry, thanks to the finest pulp material that performs as closely as possible to the original by being press formed rather than die cut for tonal consistency — found in the perennially popular CLA-10, as well as its cabinet construction. Being an active design, each pair of CLA-10A monitors make beautiful music together, thanks to their matching beefy A/B power amplifiers.
Avantone Pro has been constantly asked which version of the original studio monitoring mainstay its CLA-10 is based upon; ultimately, the company can now proudly proclaim… all of them! Thoughtfully, the CLA-10A boasts a rear-mounted VTPC (Variable Tissue Paper Control) knob that allows users to simulate anything — from the vertical ‘m’ model to the horizontal ‘Studio’ version — and everything in-between. Better still, this tone control effectively enables each user to choose the tweeter brightness that best serves their individual needs.
Needless to say, most two-way active studio monitor designs deploy a switch mode power supply and Class D amplifier. While this has proved to work well in recent years, Avantone Pro still places value on tradition. Bolstered by the success of the CLA-10 and CLA-200 Studio Reference Amplifier, Avantone Pro’s designers decided to stay with what engineers the world over have come to expect from that killer combination. As a result, the CLA-10A uses a linear power supply to deliver 200W of Class A/B output. Obviously a heat sink is required to do so. So it weighs more as a result. Resultant sound, though, is simply awesome.
Achieving that awesome-sounding result involves using a monolithic integrated circuit Class A/B amplifier with wide voltage range and high current-capable output. Operating in Parallel Mode — with two devices ganged together to deliver higher output power into low impedance loads — makes for better thermal load performance at high power. At low power, THD (Total Harmonic Distortion) is a phenomenal 0.005%; at rated load it is 0.1%, yielding excellent performance at power compared to Class D amps. The circuit uses a mixed bipolar MOS high-voltage technology called BCDII 100/120, which avoids secondary breakdown phenomena by handling high-current output without unwieldy circuit complexity and external components. Consequently, this makes it possible to deliver very high power in a reasonable package with the clean, smooth sound of a linear amplifier.
Actually, the system itself is being run at +/-40 VDC, yielding a rock-solid 200W RMS at 1kHz into 8 ohms. Obviously, rather than use an SMPS (Switch Mode Power Supply) with the associated noise that entails, Avantone Pro opted to take a traditional design route, remaining with a linear power supply. So the power supply itself uses a massive ‘old-school’ toroidal transformer to create the classic performance of an A/B amplifier. Although many companies choose to use an SMPS and Class D for this kind of system, Avantone Pro decided to stay with classic technology to maintain the legacy sound that everybody associates with this design. Duly done, mission accomplished duly achieved… an active studio monitor system fit for following hot on the heels of last year’s CLA-10 passive studio monitor and complementary CLA-200 Studio Reference Amplifier!
The CLA-10A arrives at Avantone Pro’s US Dealers (http://www.avantonepro.com/us-dealers.php) in late-March/early-April 2019, with a MAP of $999.00 USD per pair. (Worldwide Distributors are listed by country here: http://www.avantonepro.com/worldwide.php)
For more in-depth information, please visit the dedicated CLA-10A webpage here: http://www.avantonepro.com/cla-10a.php
Watch five-time GRAMMY® Award-winning mix engineer Chris Lord-Alge’s compelling CLA-10A introductory video here: https://youtu.be/iHdKMjE_ACI
Heritage Audio SUCCESSOR
Test MADRID, SPAIN: having made sizeable (sound) waves when bringing its innovative RAM System range of monitor- controlling solutions pioneering Bluetooth audio streaming, plus premium processing, excellence-exhibiting ELITE SERIES mic preamps to market in 2018, European pro audio manufacturer Heritage Audio aims to repeat its successes several times over during the course of 2019, starting with an announcement of the upcoming SUCCESSOR STEREO BUS COMPRESSOR — a new stereo bus compressor like no other on the market.
What better way to make a formal introduction, then, than with Heritage Audio CEO Peter Rodriguez’s rallying call, centred around a bold opening statement: “SUCCESSOR is the missing link between your separate tracks and a full and round-sounding hit, allowing vocals to shine through without muddying the backing track.”
That being boldly said, why settle for sterile VCAs (Voltage Controlled Amplifiers) in mix or instrument bus applications now that the SUCCESSOR STEREO BUS COMPRESSOR — to give it its full and apt appellation — will soon be on the market?
Meanwhile, back to the man with a successful SUCCESSOR STEREO BUS COMPRESSOR-centred plan, Peter Rodriguez: “Feel how your separate tracks interact and blend together in a way that’s not possible when master bus compression duties are relegated to the mastering stage.”So what’s the thinking behind the SUCCESSOR STEREO BUS COMPRESSOR, then? Traditionally, bus compression has been taken care of by VCA-style devices, based on ICs (integrated circuits), which are wholly unrelated to the warmth, fatness, and character associated with discrete Class A technology trading on chunky transformers and diode bridge-based gain reduction. Results show that the SUCCESSOR STEREO BUS COMPRESSOR can capably deliver on all of those attributes and then some.
“Snare drums can be more present, and the stereo image widens as there is more natural room for tracks to breathe; vocals stand out in the mix without being overwhelming or muddying guitars or other instruments.” So says Peter Rodriguez. And he should surely know.
Knowingly making use of Carnhill transformer-coupled balanced inputs and outputs for added character and vintage vibe, Heritage Audio’s new SUCCESSOR STEREO BUS COMPRESSOR is, indeed, a true stereo diode bridge-based bus compressor with advanced sidechain filtering and built-in parallel processing capabilities, sharing the same Class A ’73-type output stage that the Spanish company is famous for.
Fortunately for the discerning, diode bridge-based bus compression excels at bringing about 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content. Clearly, by being based on legendary vintage diode bridge designs, the SUCCESSOR STEREO BUS COMPRESSOR keeps the sonic character of such units alive, albeit adding new features into a pleasingly-musical mix, making for a very different animal in its own right — one which will make mixes shine in modern production environments. Ultimately, ultra-fast ATTACK and RELEASE control times that are not present in vintage designs allow for far more flexible settings, such as FET-like sounds and volume maximising without transient artefacts.
Are there any additional noteworthy features to be found on the soon-to-be-market-leading SUCCESSOR STEREO BUS COMPRESSOR? Why, of course! Complex sidechain filtering options, which work well with already commonplace high-pass filters to introduce mid-band peak filters and high-frequency compression to allow bus correction that was not previously possible — ultimately, users can tailor their mixes in ways not previously possible, in other words; SIDECHAIN L and SIDECHAIN R SEND and RETURN connections, allowing for external sidechain signals or further external processing of the internal one; BLEND control (with dedicated ON/OFF button allowing for instant comparison between WET and DRY signals), offering built-in parallel compression with no external equipment required; and, last but not least… true stereo operation on single controls with matched gain cells for extremely precise left/right tracking and almost zero offset between channels — compression tracking works in ‘Oxford’ mode, meaning that the highest signal takes over compression as opposed to summing the left and right channels.
From FET-like, all-buttons-in drum sounds — now in stereo! — to VCA-style mix bus compression with the added warmth and fatness that only transformers can bring to the table, the SUCCESSOR STEREO BUS COMPRESSOR literally lives up to its notable name. After all, it is designed to stay hooked up to the mix bus and make mixes shine forth for all to hear, so making mixes a success is the name of the (Heritage Audio) game (plan)!
The SUCCESSOR STEREO BUS COMPRESSOR will be available by the end of Q1 via Heritage Audio’s growing global network of dealers (https://www.heritageaudio.net/where-to-buy/) with an MSRP of €1,299.00 EUR (excluding VAT) and MAP of $1,499.00 USD.
For more in-depth information, please visit the dedicated SUCCESSOR STEREO BUS COMPRESSOR webpage here: https://heritageaudio.net/catalogue/successor/
Watch Heritage Audio’s informative introductory SUCCESSOR STEREO BUS COMPRESSOR video here: https://youtu.be/KbtJPrV1DaY
The Evolution of a Life-Changing Idea – Jeremy Bell – ScrubBoard
Today we have a guest post from Jeremy Bell. If you’re not familiar with the name, I’d bet you’ve watched videos (this one and this one) on his groundbreaking creation, the Scrub Board. I’ve been following him throughout the development and lucky for me, he wrote an exclusive article on the complete evolution of the Scrub Board. Enjoy!
“It all started with Laurie Anderson.” This is always my reply to the inevitable questions about where I got the idea for the ScrubBoard. Laurie was a performance artist, and among the many imaginative multimedia innovations in her act was the “Violin tape bow”: a violin bow with a strip of audio tape attached to it, which she played by dragging it against a specially-designed violin with a playhead mounted to the body.
It was around Christmas of 2012 when I was having a conversation with my family about what presents we would ask for, if we could ask for absolutely anything. I said that I’d ask for a replica of Laurie Anderson’s violin tape bow. I didn’t realize it at the moment, but that offhand comment planted the seed for an idea that would utterly consume me for years.
At first, my thought was, “Hey, I don’t need a wealthy, generous relative – it probably wouldn’t even be that expensive if the playhead were mounted on something other than a violin.” And that’s when I began to formulate the concept for my own version of the violin tape bow. Now, at this point, there’s something I should explain about myself: I have a long history of letting an interesting creative project completely hijack my life. It’s been happening since I was in grade school, and it’s definitely what happened here. Suddenly I couldn’t be bothered to eat or attend to such trivial matters as basic hygiene because I was too busy pacing around my bedroom, thinking about ways to develop this design.
The biggest problem, I felt, was that of achieving straight playback. Manually dragging audiotape against a stationary playhead is a great way to generate all kinds of interesting sounds and rhythms, but it’s not so great for generating a coherent reproduction of the original recording. For that, you’d need to be able to move your hand at a perfectly consistent speed, which – unless you’re Laurie Anderson – is a superhuman feet.
Now if you’re not familiar with turntablism, you might not realize why this is so important, so let me provide a little background. When you hear a turntablist perform, a lot of what you hear are these crazy rhythmic noises, but then periodically, a recognizable sound will emerge from those noises, and that sound is the recording in its original form, as it would sound if it were played normally. This is the result of the DJ momentarily letting go of the record and letting the turntable motor take over. The juxtaposition of these two categories of sound — the sound of the record being manipulated by the DJ’s hand and the sound of it being moved by the turntable motor – provide a kind of tension and resolution and are an integral part of turntablism.
So the question was, how to achieve all this with Anderson’s tape bow? After days of struggling with this dilemma, I finally had an idea: Instead of moving the tape, why not move the playhead? Then the tape can be driven by a standard transport motor, giving the user the option to manually move the playhead for creative manipulation of the sound, or to trigger the motor for straight playback. This idea did more than solve the issue of straight playback; it marked the moment when this stopped being about recreating Laurie Anderson’s design, and started being about creating my own: The ScrubBoard.
So there I was, pacing in circles and walking into walls as I ecstatically reveled in my vision, which played out in increasing levels of detail in my mind. It was becoming such a distraction that I realized I was going to have to find a way to exorcise this demon before I ended up absentmindedly walking into traffic. My solution was to create a video that laid out my idea, and then I could put it on YouTube to see if there was any interest in such a device. I figured, if nothing else, a video could provide closure so I could finally move on with my life.
I uploaded my first ScrubBoard video in early 2013. No, this is not the video you’re thinking of. That first video consisted entirely of photoshopped mockups and crude animations to illustrate my ideas. To say this video was not a hit would be a huge understatement. After a few weeks, feeling embarrassed of its low view count, I took it down. So that was that. I had closure, and I now knew that this idea was never going to capture anyone’s imagination.
I let the idea go and went on to other projects, until one day, sitting on a San Francisco city bus, I was struck with another big epiphany: Even a really crude prototype would probably be a lot more engaging than a bunch of mockups. Sure, I couldn’t make a fully-functional version of the device for my video, but maybe I could make a simplified version without the motorized tape transport, just to give people a taste of what might be possible.
And so, the first prototype was born. It was little more than a wooden board with a couple of rails with audio tape attached, and a playhead covered in modeling clay, molded to fit over the rails.
It turned out I was right – having a real prototype in the video, however crude, made all the difference. In fact, its crudeness turned out to be part of its charm. My video demo of this first prototype became a viral sensation. Hundreds of thousands of people watched it, dozens of articles were written about it, and hundreds of people reached out to me wanting to know more, including more than a few journalists. The notoriety from this video opened many doors for me, and ultimately led to me landing a dream job working with audio hardware and software.
This first prototype was the beginning of a pattern that I found myself cycling through repeatedly over the next few years. The pattern went something like this:
- I have this idea, but it’s too complicated for me to build myself.
- Actually, maybe it’s possible for me to build a simplified version of my idea.
- Hey, that wasn’t as hard as I thought it would be!
- Maybe I could try again, but this time I won’t simplify it quite so much.
Eventually this pattern lead to my biggest breakthrough, which came in 2016 – by attaching the guts of an old Walkman to the board, I was finally able to actualize my original vision of a prototype with a transport motor for straight playback. This version was very fragile and was made up of several separate, interconnected pieces, but at last I was able to get the kind of straight playback that a turntablist could get by letting go of the record.
My original intention for the transport motor was that simple – just to provide something that would be comparable to the turntable motor for a DJ. I even thought about designing it so that the motor would start automatically when the user let go of the scrubber, to make it more like the experience of scratching with a turntable. In hindsight, I realize now that this whole approach – seeing the ScrubBoard as an alternative to the DJ’s turntable – was self-defeating. It was never going to be that. The ScrubBoard was its own thing, and once I started looking at it that way, I realized was that because I could move both the medium (audio tape) and the reader (playhead), I had created a third possibility: Moving both at the same time. These two types of motion can work with or against each other, presenting a very fertile ground for exploration that I have – even how – only just begun to discover.
My video demo of this prototype was by far my most widely viewed video – topping out at over seven million views on Facebook – a number I’ve never even come close to matching before or since. The funny thing was that as soon as I finished shooting that video, I put that prototype in my closet and never used it again.
The reason I abandoned it so quickly was because right around the time I finished building it, I discovered that only a couple miles from my house was everything I needed to finally realize my dream of a fully functional ScrubBoard – the Santa Cruz Idea FabLab. The first time I walked into the place, I thought to myself, “I’m home!” The fabrication tools proved to be surprisingly easy to learn, and within about nine months, I had it at last: A full featured ScrubBoard. It was not a table full of interconnected parts and exposed wires like my last model; it was fully self-contained and could almost pass for a real piece of professional gear. No longer dependent on flimsy cassette tape, I was now using high-quality reel to reel tape, and I had inputs and outputs for all four tracks on the tape.
Unlike the previous one, I still play with this prototype all the time, and I still find myself getting giddy with excitement every time I pull it out. Even if I ultimately never have any commercial success with the ScrubBoard or the music I create with it, I’d still say that it has been well worth all my efforts over the past five years.
But even more rewarding than having this fun new audio toy is the epiphany that has come out of this whole experience: The realization that we don’t have to hope for some wealthy benefactor, or wait for the board member of some big company to finally decide to build that awesome piece of hardware we’ve been dreaming about. Now more than ever, the tools to create our own gear are well within our grasp. So many times throughout this whole process, I’d come up against some mechanical or electrical problem that seemed to go well beyond the limits of my comprehension, only to discover that there was this six dollar gadget on eBay that would easily solve my problem.
Since my videos started getting attention, I have, on several occasions, gotten messages from fans of my work, saying something like this: “I have this idea, and I want to give it to you because I’ll never be able to build it.” You can probably guess my reply: Never be so quick to assume that it’s beyond your abilities to pull that idea out of your head and bring it into the world. The task is almost never as insurmountable as it seems at first. Just start with a simplified version of your idea. Then go from there.
For more information, visit http://jeremyseanbell.com/scrubboard/
