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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.

The Original “Over-complicated” Photoshop Mockup

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.

The 2014 “Pre-Alpha” using the Walkman

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.

The “Alpha” with transport control

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.

The “Fab Lab” Beta

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/

Review: PROCESS.AUDIO Sugar

PROCESS.AUDIO Sugar Rundown:
4.5 / 5 Reviewer
Pros
- Easy to use inteface
- Saturation section great on its own
- Almost any type of track can benefit from Sugar
Cons
- High and Low pass filters could use 6 dB per octave slope
- Wanted to be able to use different slopes for High and Low pass filter
- If DAW doesn't have delay compensation, cannot use linear phase mode (not PROCESS.AUDIO's fault but needed to be mentioned)
Summary
Sugar definitely sweetens tracks. Whether you are a songwriter just trying to quickly enhance tracks or a seasoned audio, tired of placing a few plugins, Sugar does the trick brilliantly.
Rating

Sometimes in a mix, it’s not what you subtract that makes the biggest impact. It’s what you add. Process.Audio’s Sugar gives several selections within one plugin to add more greatness into tracks.

 

Process.Audio is a new plugin venture branched off from the pureMix.net team. This group has created a site which has become a wealth of knowledge for all things tracking, production, mixing, mastering, and even cooking! Led by the aforementioned cooking expert Fab Dupont, the Process.Audio team has released their first plugin, Sugar.

 

Coined as “The Ultimate Audio Sweetener”, Sugar is definitely a “More” type plugin. Utilizing a lot of advanced under-the-hood processing, this plugin does all of the hard work while you sit back and dial in each setting until it sounds like you want. While Process.Audio doesn’t say for sure what’s going on under the hood, just from listening to the results, the plugin seems to incorporate forms of analog modeling, dynamics control, harmonic exciters, transient enhancement, saturation, and a lot of sidechaining to inject character into tracks. This character can be compared to the same “magic” that analog hardware gives to audio. Think of Sugar as your bridge to get you from bland to final product much faster than traditional digital mixing.

 

Controls are laid out in a very logical manner. Across the top, are four different bands. These bands represent the low, mids, highs, and ultra-highs. Inside of each band is two different flavors of processing, labeled with adjectives to describe their intent. Select one of the labels and turn the fader above the band up to add the character to the track. As you turn the fader up, obviously more of the characteristic selected will appear in the track. The signal is blended into the dry signal automatically according to how much is wanted, eliminating the need for a blend knob.

 

On top of each band-specific control, input selection, High and Low Pass Filters, Saturation, and Output Volume can be tweaked as well. Each of the filters can span the entire frequency spectrum from 0Hz to 20kHz and work in either 12dB or a 48dB per octave slope. Saturation also comes in three flavors, offering everything from subtle saturation to outright mayhem distortion.

 

Not only can Sugar work in stereo, but a mid-side mode is available where the fader for each band becomes two smaller faders. The mid is controlled by each band’s left fader and the side is controlled by the right. This gives the ability to add warmth to the center of a track, while adding air to the left and right.

 

Want to hear exactly what is being added to the dry signal? Select the FX only button to hear a solo of the processing being applied. Want to hear more of all of the bands at once without individually tweaking each slider? Turn the big knob in the center and more can be added of all bands instantly, similar to a VCA fader. Want to compensate for all of the gain that has been applied from the enhancements you’ve made? Select the Level MGMT button. While this is not an “Auto Gain” setting, it does consider the amount of extra energy being applied across the whole spectrum and give a best guess for level matching. If more dialing in is needed, simply adjust the output level.

 

In operation Sugar does exactly what it advertises. Tracks are instantly transformed. Lows jump out of the speakers without being too intrusive, the mids bring depth back into thin sounding tracks, and the top end soars. This is definitely one of those plugins that require a lot of A/B comparison. Ear fatigue can set in quickly especially in the high end so start sparingly. The top end can be tricky, but the Yin and Yang setting tackles this issue by utilizing individual phase settings. It is advised to not just settle on one due to the properties of phase on the high frequencies in a track. One will stand out as the most useful – go with that one.

 

The Thick and Punch settings add huge bottom end to a track without muddying up the mix. The warm setting brings just the right amount of weight and presence to a mix. Broad pushes the mids out front to un-bury a track that can’t seem to make its way to the front of a mix. Shine throws more presence in the highs and excite brings in extra harmonics to material that is lacking. Finally, Yin and Yang bring the ultra-highs to bring that halo of air to a track.

 

In use I found myself using the low setting and warm the most with just a little yin or yang depending on the need for the track. Usually, I’ll push each band hard at first to see which selector I like and bring it down while A/Bing the FX versus the bypassed and blended signal. Once I get each setting where I like it, I dial it back with the big knob until it fits right in the mix. Usually, I’ll then go take a break and come back, switching between bypassed, processed, and my reference mix. Moderation is key with Sugar.

 

My only issues I had was I wish the slopes of the filters were independent and offered a 6dB per octave slope as well just to subtly round off the highs and lows. I also had to be very careful with shine and excite because it didn’t take too much for the track to get harsh quickly. The other issue is the CPU usage. Because of all of the aforementioned processes I think Sugar is using, it definitely uses a lot of processing. The linear phase setting especially introduces significant delay so set your DAWs or Sequencers to compensate for this. Unless you use Maschine, like I did, and have no delay compensation. At that point, Linear Phase can be turned off and the plugin can function inside of Maschine.

 

For the money, at $150.00, the value isn’t terrible for what you’re getting especially if you are the type who wants to just create music and not deal with the technical, or a professional with strict timelines.

 

All in all, I feel Sugar does stand out in a sea of plugins that make the same claims. Another plugin that would be comparable is Mango (Review Here). I liked the layout, I liked the visual feedback showing where the audio is being enhanced and I especially liked the saturation settings. Overall the plugin has made its way into my mixes in different places.

 

It’s great to see a company who trains on the ins and outs of audio putting their experience to use in the form a plugin. I’m looking forward to seeing what they do next.

XLN Audio XO

Finding the right One Shot sound for your beats can be tiresome. Clicking through sound after sound hinders inspirations. XLN has a new promising looking solution.

 XO is a beat making tool that collects all your one-shot drum samples and sorts them by similarity. XO also comes with more than 8000 carefully curated samples.

 

Explore your drum sounds in the XO Space. When you hear something you like, have a look around. You might find something even better nearby.

 

Create your beat with the playful and intuitive sequencer, using essential effects and creative modifiers. XO is the perfect companion. As standalone, or in your favorite host – it will fit your workflow smoothly and seamlessly.

Price: $179.95

For more information, visit https://www.xlnaudio.com/products/xo

Rob Papen RP-Reverse

Rob Papen has flipped the audio world on its head. RP-Reverse is a unique plugin that reverses audio and shifts it to match audio. While reversing audio can be done within a DAW, usually the result requires moving tracks around and chopping into pieces. Let RP-Reverse have a try at it!

Thinking out of the box is part of what the Rob Papen brand ethos is, however, we do not want to lose the fact that plugins should be there for creating music. Well, here we present RP-Reverse which is an FX plugin for the creative minded artist that loves to add different sonic ingredients into their tracks!

RP-Reverse reverses the incoming audio in a creative way, the resulting audio can be tempo synced to make it easily fit the reversed sound right into your track. With RP-Reverse it is possible to trigger the recording of the audio (which is reversed) in various ways to which you can read about further on in the manual.
In true Rob Papen style, it’s not just about the main feature! On the reversed signal you can also add distortion, two analog modeled Filters or a Comb Filter.
On top of this, you will also find a handy LFO to modulate the reversed audio and the Filters.

Whilst using RP-Reverse in the creative process we kept in mind that you might like to fade in/out the reversed sound or use a mute button. The top section, therefore, has a separate volume dial for the reversed audio and a separate mute button to make it easy to automate these functions in your music host program.

RP-Reverse is a cool plugin to be used on your drum-loops, vocals or instruments, and for adding ‘thinking out of the box’ type FX to your tracks!

Price: $39

For more information and to purchase, visit https://www.robpapen.com/rp-reverse.html

Tone2 Electra2.7 Update

Tone2 Electra2 is a unique secret weapon synth. Version 2.7 adds even more functionality.

TONE2 Audiosoftware releases Electra 2.7

Tone2 Audio has updated the synthesizer workstation Electra to v2.7.
The update to v2.7 is a major update, which is available for free. It includes new synthesis modes, many additional effects, enhanced sound, improved performance and lots of new features.
Electra 2.7 is downward compatible with all previous versions. All existing song projects and patches can be loaded without any further steps necessary. They will benefit from the enhanced sound quality.

New features:

  • New effect ‘Hyper Unison’ which stacks 3,5,7 or 9 voices.
  • New effect ‘Haas Effect’ which creates the impression of positioning a sound source.
  • New triangular waveshaper ‘ShapTri’ for the distortion section.
  • New asymmetric waveshaper ‘ShapAsy’ for the distortion section.
  • New pulsed waveshaper ‘ShapPul’ for the distortion section.
  • New warping waveshaper ‘ShapWar’ for the distortion section.
  • New asymmetric waveshaper ‘ShapHal’ for the distortion section.
  • New zapping waveshaper ‘ShapZap’ for the distortion section.
  • New symmetric waveshaper ‘ShapSym’ for the distortion section.
  • New distortion type ‘Selfsync’ which creates a sub-harmonic sound.
  • New distortion type ‘Degrade’ which adds mirror-frequencies to the signal.
  • New distortion type ‘Noise’ which mixes white noise with the signal.
  • New distortion type ‘NoiseRM’ which ring-modulates the signal with noise.
  • New distortion type ‘Scream’ with fractal feedback.
  • Added support for *.sfz files. They can be imported with the FILE menu.
  • New sample-oscillator-effect: ‘Rectify’ distorts a sample.
  • New sample-oscillator-effect: ‘Noisify 2’ destroys a sample.
  • New sample-oscillator-effect: ‘Invert’ changes the phase of a sample by 180 degrees.
  • New sample-oscillator-effect: ‘Fold’ flips the negative amplitude of a sample.
  • Multi-line tooltips for better readability and more detailed descriptions.
  • New microtuning-modes ‘432Hz -32cent’,’424Hz -66cent’,’449Hz +33cent’ and ‘457Hz +66cent’.
  • When multilayer-editing is active the knobs show a red line.
  • Added drag&drop support for multilayer-editing.
  • ‘Quick import sample’ does generate a new program name automatically.
  • ‘Quick import sample’ maps the mod-wheel to vibrato automatically.
  • ‘Quick import sample’ automatically generates a soft velocity mapping to volume.

Enhancements:

  • Patches are loading up to 10x faster.
  • Songs are loading faster.
  • Drastically reduced CPU-load after switching through the patches.
  • Enhanced sound of the ‘Shape’ waveshaper (20x oversampling & removed a click).
  • Enhanced sound of ‘Tube’ distortion (10x oversampling).
  • Enhanced sound of ‘Soft’ distortion (10x oversampling).
  • Enhanced sound of ‘Crush’ distortion (10x oversampling).
  • Enhanced sound of ‘Chorus’ and ‘Ensemble’. They sound smoother and less detuned.
  • Enhanced sound of ‘Delay’,’Delay Band’,’PingPong’,’Multitap’,’Delay Diffuse’ and ‘Delay Dual’. The echo sounds less detuned.
  • Better default values for some effects.
  • Enhanced sound of ‘Reverb Hall’, ‘Reverb Cathedral’, ‘Reverb Big’, ‘Reverb Plate’, ‘Reverb Infinity’, ‘Reverb Glass’. It has a more natural sound with less detuning and the low-end has a more linear frequency response.
  • Plugin editor can be minimized permanently by clicking the EDIT button.
  • More linear frequency response above 14 Khz for ‘Loudness’ and ‘Bright’ mode.
  • Enhanced sound, frequency response and phase response of EQ low.
  • PC version is smarter with selecting directories for saving and loading.
  • Useless scroll-bars are not longer shown in the standalone version on PC.
  • Drastically enhanced performance if excessive key-splitting for the oscillators is used.
  • More detailed descriptions for many tooltips.
  • The patch browser does react to midi-program-changes.
  • Parallel and serial filter-routing is easier to set-up.
  • Fine-tuned the coordinates of some controls and texts.

Changes:

  • ElectraXmidi.cfg is now stored within the ElectraX_data directory.
  • ElectraMouse.cfg is now stored within the ElectraX_data directory.
  • ElectraTooltips.cfg is now stored within the ElectraX_data directory.
  • Electra2.pdf is now stored within the ElectraX_data directory.
  • ‘Smart Unison’ has been renamed to ‘Chorus White’
  • ‘Chorus 2’ has been renamed to ‘Chorus Standard’.
  • Sample effect ‘Square’ has been renamed to ‘Quadrature’.
  • The sinoid-waveshaper ‘Shaper’ has been renamed to ‘ShapSin’.
  • The effect-parameters do not longer contain a ‘*’.

Fixes:

  • Fixed a compatibility problem with recording automation in some hosts.
  • Fixed a bug with list-selectors on Mac 64bit.
  • The grid of the step-lfo was displayed incorrectly.
  • Workaround for a Cubase-bug which sets the window-size incorrectly after ‘save a default preset’.
  • A double-click to the matrix-send-level did not update the modulation-depth-sectors for the knobs properly.
  • Fixed a possible crash which could happen when the plugin is closed while a tooltip is shown.
  • Fixed a bug in the fast-sine-approximation on PC.
  • The check-mark for the patch selector was missing in some hosts after closing and opening the GUI.
  • Key-range for note-filtering was displayed incorrectly.
  • Fixed some typos in the tooltips.
  • Initializing a new patch did not always update the program name correctly.
  • Fixed a rarely appearing crash that could happen when the patches were switched while a track was playing.
  • Fixed a crash that could happen if samples are played back with extremely high pitch.
  • Workaround for a bug of FL Studio on the Mac. A crash could happen if GUI was closed while the browser was open.
  • Fixed a rarely appearing crash on the Mac that could happen when the plugin was deleted while a tooltip was shown.
  • Fixed an unlikely crash on the Mac which happened if the plugin was closed immideately after opening the browser.
  • The ESC key did not work in some hosts.
  • Fixed some GUI glitches in the browser which could appear if very long names are used.

For more info about Electra please visit the product page:

https://www.tone2.com/electra2.html

Orion 32HD

Antelope Audio completely dominated the pro audio scene in 2018 with new mics and interfaces. It seems 2019 is off to the races as well with the new 3rd generation Orion 32HD. This is almost tempting me to get rid of the HD I/O.

SANTA MONICA, CA, USA: having made momentous musical waves with show-stopping premiere performances at The 2019 NAMM Show in Southern California, January 24-27, trailblazing pro audio manufacturer Antelope Audio is proud to speedily follow up on last month’s Orion 32+ | Gen 3 availability announcement by shipping its Orion 32HD | Gen 3 showpiece sibling. Since it is compatible with any DAW (Digital Audio Workstation) via HDX or USB 3.0, this new Pro Tools HD- and Native-ready audio interface really represents everything Antelope Audio stands for — from industry-finest AD/DA conversion, comprehensive connectivity, zero-latency monitoring, and 64-channel 24-bit/192 kHz audio streaming through to flawless clocking and beyond.
This third-generation, improved interface sets new standards in the pro audio industry by virtue of Antelope Audio’s acclaimed AD/DA being boosted to reach an astonishing 136dB of dynamic range! Like its innovative predecessors, Orion 32HD | Gen 3 is also an amazingly versatile audio interface. It works like a charm with any DAW on the market. Comprehensive connectivity makes streaming hi-res audio a digital delight, thanks to its back panel-positioned USB 3.0 Type B connector (offering 64 channels of I/O at up to 192 kHz) and also two mini HDX connectors for direct Pro Tools connection (each offering 32 channels of I/O, totalling 64 channels). Further flexibility abounds as digital I/O is also available over fiber optic MADI (IN and OUT — up to 64 channels each), two ADAT (IN 1 and IN 2, and OUT 1 and OUT 2 — both with up to 64 channels), and S/PDIF (IN and OUT) connections. Obligingly, Orion 32HD | Gen 3 not only enables users to stream an astounding 64 channels of audio when tracking, but also allows for multiple monitor mixes. Moreover, the sound is detailed, natural, pleasing, and transparent when monitoring.
Meanwhile, stepping out into the wonderful world of analog audio, Orion 32HD | Gen 3 is equally well connected, courtesy of four D-SUB 25 connectors catering to 32 channels of ANALOG IN and four D-SUB 25 connectors catering to 32 channels of ANALOG OUT, plus two MONITOR outputs on 1/4-inch TRS jacks.
Jet-setting, top-tier audio professionals as well as those working closer to home — or even at home — will, no doubt, delight in the unbeatable clocking accuracy of Orion 32HD | Gen 3 provided by Antelope Audio’s acclaimed 64-bit AFC (Acoustically Focused Clocking) jitter management technology. That should, however, hardly be surprising since Antelope Audio clocking has decades-long reputation for excellence in both stability and sonic improvement, insofar as transients will surely shine like never before and achieving a stereo image with incomparable depth and detail duly comes naturally. Needless to say, sonic perfection is clearly a given, with a crystal-clear high-end literally like no other!
Orion 32HD | Gen 3 comes complete with a comprehensive collection of circuit-level gear emulations, running in real-time on an integrated FPGA (Field Programmable Gate Array) platform. Plucked from Antelope Audio’s fast-growing FPGA FX library, these go way beyond the essentials. Everything needed to accomplish high-quality recording, mixing, and mastering — with access to no fewer than 20 time-tested, classic equalizers; 13 vintage and modern compressors; and several useful utility effects, including the thick-sounding and versatile reverb that is AuraVerb — is here: https://en.antelopeaudio.com/products/orion-32hd-gen3-featured-fx/
Orion 32HD | Gen 3 offers extensive flexibility for excellent productivity, providing a color-coded software routing matrix with four separate mixers, effects chaining, and zero-latency monitoring. All are found within an intuitive desktop application for macOS and Windows. It is even possible to use that intuitive software control panel from multiple computers connected over the same network to amplify an already flexible workflow!
While the original Orion32HD set a new price/performance standard for HDX-compatible I/O, industry-leading conversion and exceptional connectivity for the price ensure expectations are redefined once again with the Orion32HD | Gen 3. It includes all the power of the original, now upgraded with Antelope Audio’s flagship-level AD/DA conversion. Combining all that with a refreshed design and a wide range of real- time, FPGA-powered effects ensure that the Orion32HD | Gen 3 will make productions and live shows shine forth for all to truly hear!
Orion 32HD | Gen 3 is now available for purchase — priced at an RRP of $3,995.00 USD — through Antelope Audio’s growing global network of authorised dealers (https://en.antelopeaudio.com/dealers/). Or order online directly from Antelope Audio via the dedicated Orion 32HD | Gen 3 webpage (https://en.antelopeaudio.com/products/orion-32hd-gen3/), which also includes more in-depth information.

Sonarworks Announces New Headphone Profiles for Reference 4

Recently, we reviewed Sonarworks Reference 4 and found it to be an essential tool in mixing. Now the award winning software has even more headphone models to choose from.

New models from AKG, Focusrite, Sennheiser bring total count to over 200 supported models

Riga, Latvia – April 11, 2019 – Sonarworks have just announced the latest additions to their list of supported headphone models for Reference 4, their award-winning sound calibration software. The new models include offerings from major brands like AKG, Focusrite, Pioneer, and Sennheiser, many of which have been added due to user feedback and bring the total count of supported headphone models to over 200 and counting.

“The feedback from our user base is very helpful when deciding what models to include next,” explains Sonarworks Co-Founder Martins Popelis. “By letting us know what they are actively working with, we can make sure the software supports them.”

The new supported headphone models are:

●      ADAM Audio Studio Pro SP-5

●      AKG K7XX

●      Audeze LCD-4z

●      Audeze LCD-XC

●      Audeze LCD2 Classic

●      Audeze LCD2 Closed-Back

●      Audio-Technica ATH-M60x

●      B&O Play Beoplay H2

●      Beyerdynamic Amiron Home

●      Beyerdynamic Custom Game

●      Beyerdynamic DT 250 250 Ohm

●      Beyerdynamic T 1 (2nd generation)

●      Focusrite HP60 MkII

●      MrSpeakers AEON Flow Closed

●      MrSpeakers AEON Flow Open-Back

●      Neumann NDH 20

●      Pioneer SE-M531

●      PreSonus HD9

●      Sennheiser HD 25-1 II Basic Edition

●      Sennheiser HD 559

●      Sennheiser HD 58X

●      Sony WH-1000XM3

●      Yamaha RH5Ma

In addition to supporting their user community with these updates, Sonarworks is also offering individually calibrated versions of selected new models for sale for even great precision including the Neumann NDH20. Individual calibration improves the accuracy of supported headphones from +/- 3 dB to +/-0.9 dB.

 

To purchase individually calibrated headphones from Sonarworks, please visit: https://storeus.sonarworks.com/collections/individually-calibrated-studio-headphones

For a list of all currently support headphones, please visit: http://www.sonarworks.com/reference/headphones

For more information about Sonarworks Reference 4, please visit: http://www.sonarworks.com/reference

Audified ToneSpot Acoustic Pro

Audified is continuing their series of one-stop-shops for processing tracks. First came ToneSpot for Bass, now we have a tool to cater to the acoustic instruments, which can be troublesome at times to mix.

BRNO, CZECH REPUBLIC: having helpfully spotted speedy tone-hunters with its opening ToneSpot series salvo aimed at advancing the bass tone sweet spot, software applications, software effects, and hardware processors developer Audified is proud to announce availability of its ToneSpot Acoustic Pro purposeful follow-up — another abundantly powerful plug-in presented as an eye-catching, easy-to-use channel strip, this time tailored to processing stringed acoustic instruments as an aptly-named, Swiss Army knife-style solution, so speedy arrivals at appropriate, professional-sounding results are always assured — as of April 12…

Technology-driven, modern-day music production can commonly involve a lot of processing in pursuit of outstanding tones, and acoustic instruments are no exception to this unwritten rule — even when striving towards a natural-sounding tone. Why? Well, stringed acoustic instruments frequently find themselves fighting against busy arrangements, where several layers of instruments can clash with one another. Also, recordings can sometimes sound too thin, harsh, or sterile. So a tone that can clearly cut through the mix is what’s needed. That tone needs to be both harmonically rich and fat-sounding, yet retain clarity and tightness. That’s not all, though! The stringed acoustic instrument in question might well end up being heavily processed, but by striving to remain natural- sounding surely lets listeners identify — and identify with — what it is that they are actually hearing. However, this is easier said than done. Delicate and difficult, it’s a balancing act for sure. So this is exactly where ToneSpot Acoustic Pro comes into play.

Products tailored to post-processing of stringed acoustic instruments have been few and far between, rather remaining reliant on studio-savvy engineers’ established workflow, which can involve some seriously convoluted heavy lifting — brilliantly blending several re-amping chains with extensive equalisation, filtering, compression, saturation, or even some multi-band processing — in pursuit of achieving awesome-sounding tones that today’s listeners are accustomed to hearing… until today’s timely arrival of ToneSpot Acoustic Pro, that is!

It’s obvious, therefore, that a simpler solution is what’s needed. Needless to say, ToneSpot Acoustic Pro perfectly encapsulates that very thought, tailored to processing stringed acoustic instruments as an aptly-named, Swiss Army knife-style solution, so speedy arrivals at appropriate, professional-sounding results are always assured. As an abundantly powerful plug-in presented as an eye- catching, easy-to-use channel strip, it effectively does everything experienced engineers are called upon to do, yet achieves that as a CPU-friendly single processor. Put it this way: it is the key ingredient for cooking up some successfully processed stringed acoustic instruments… just add an acoustic guitar, piano, violin, or cello to the musical mix to hear it sizzle with ToneSpot Acoustic Pro!

Perhaps pictures can paint a thousand words. When it comes to ToneSpot Acoustic Pro, though, musically-meaningful controls — Character (Type, Bright, Scoop, Lo-Fi), Saturation (Gain, Boost, Mix), Shaping (Low-cut, Boom 100/150, Body 300/400, Paper 600/700, Wood 800/1k, Strings 2k/4k, Sparkle 10k/12k, High-cut), Punch (Comp Fast/Slow, Make-up, Mix), Surgery (Freq Hi Q, Gain), Smash (Comp Fast/Slow, Make-up, Mix), Effects (Tremolo Sin/Tri/Rect, Modulation Chorus/Flanger/Phaser, Delay Analog/Crystal/Brown, Reverb Room/Plate/Hall — with Decay/Ping Pong, Depth, Intensity, Mix, Sync), and Finalizer (Enhancer, Fat, Tight, Smooth) — are arranged across its impressive, user-friendly GUI (Graphical User Interface), initiating easy access to professional processing-powered tips, tricks, and comprehensive know-how, while also encouraging experimentation.

Thoughtfully, ToneSpot Acoustic Pro’s settings are based on an analysis of world-class records. Realising perfectly processed stringed acoustic instruments is even easier as a result, allowing anyone to get on with writing great-sounding music, which is what it’s all about. After all, great musical ideas definitely deserve a great sound in this day and age. And ToneSpot Acoustic Pro even comes complete with 80 professionally-programmed presets to help savvy songwriters get things musically moving in the right direction without worrying about wasting time trying to process stringed acoustic instruments to fit whatever genre — whether modern or traditional — they are actively involved in.

ToneSpot Acoustic Pro is available to purchase for a time-limited introductory promo price of $49.00 USD until April 26, 2019 — rising thereafter to $99.00 USD — from Audified’s online shop here: https://shop.audified.com/products/tonespot-acoustic-pro

 

ToneSpot Acoustic Pro can be directly downloaded as an AAX, AU, VST2, VST3, 32- and 64-bit native plug-in for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a fully-functional, 30-day demo version — from Audified here: https://services.audified.com/download (Note that all Audified’s ToneSpot series plug-ins are serial number-protected, so no iLok is required.)

 

For more in-depth info, please visit the dedicated ToneSpot Acoustic Pro webpage here: https://shop.audified.com/products/tonespot-acoustic-pro

 

Watch Audified’s ToneSpot Acoustic Pro promo video here: https://youtu.be/BaogA319Snk

 

ToneSpot Acoustic Express — featuring the same processing power as its bigger brother, but with a reduced control count — will soon be available to purchase for a time-limited introductory promo price of $19.00 USD — rising thereafter to $49.00 USD — from Audified’s online shop.

Audified ToneSpot

Do your bass tracks need some low-end love? Maybe a little bite? Usually this takes a few plugins but Audified have combined several plugins to make ToneSpot.

BRNO, CZECH REPUBLIC: host application and audio effects developer Audified is proud to announce availability of ToneSpot Bass Pro — presented as an abundantly powerful channel strip plug-in with an impressive, user-friendly GUI (Graphical User Interface) that provides professional processing power to let users shape their bass tone to fit any musical genre, perfectly aiming the company’s trailblazing ToneSpot series Swiss Army knife-style solution for all tone hunters as an appropriately-named opening salvo.

Building the perfect bass guitar tone takes time and effort. Engineers often take to applying some seriously heavy lifting to the signal to satisfy studio-savvy bassists — blending several re-amping chains with heavy doses of filtering, compression, equalisation, saturation, and even some multi-band processing, plus more besides! Indeed, it is no secret that top-tier engineers often run the signal through their chains two or three times in series until both engineer and artist are 100% satisfied with the recorded result.

Reality dictates that this is hardly surprising — both from an artistic and recording perspective. Why? Well, bass guitar can take a lot of processing since it is often called upon to fight against heavily distorted and harmonically rich layers of guitars and/or synths. So the tone needs to cut through the mix. Musically speaking, the bass has to be both consistent and tight, but it also needs to audibly demonstrate bottom-end ballsiness while making its presence felt in the midrange arena at the same time. This sometimes involves it having to be almost as distorted as those guitars and/or synths it is being called upon to musically support, so it cannot — and should not — be overlooked in the mix, as any engineer hot in pursuit of hitting that bass tone sweet spot knows only too well. Whether or not the bass itself is heavily distorted, maintaining clarity throughout is — more often than not — a delicate balancing act. After all, listeners should surely be able to hear which bass notes are being played? Perhaps.

Putting all this into practice is easier said than done, though. That said, there are very few products tailored to post-processing of bass instruments; indeed, most of today’s engineers employ a similar workflow, where it is not enough to simply run the bass through a real tube amp or guitar amp simulation plug-in to achieve the standards being heard on today’s records. Reaching the lofty heights of those superlative-sounding records require a ton of real amps and/or a ton of simulation plug-ins working with a ton of processing plug-ins, pushing available CPU (Central Processing Unit) power to the edge — even beyond, sometimes.

Surely, then, there must be a simpler solution? Sure is. Please put your hands together and give Audified’s all-new ToneSpot Bass Pro — presented as an abundantly powerful channel strip plug-in with an impressive, user-friendly GUI that provides professional processing power to let users shape their bass tone to fit any musical genre — a warm welcome. Simply speaking, ToneSpot Bass Pro invariably improves the tone in question — no matter what amp, pedal, or plug- ins are already involved in processing the bass guitar.

Get this, though: ToneSpot Bass Pro provides everything needed to (re)create those brilliant-sounding bass guitar tones that are making their musical mark all over today’s albums. And all from within a single, simple-to-use processing plug-in — perfect for hitting that sought-after bass tone sweet spot every time, thanks to controls that make musical sense. Simply by offering those controls alongside settings based on analysis of thousands of world-class records, best practice mixing tips for bass guitar processing, intelligent gain staging, and ample processing power, plus flexibility, ToneSpot Bass Pro provides time- and energy-saving attributes like nothing else around — and all without needing to use a ton of processing plug-ins in pursuit of that aforesaid sweet spot!

So let’s take a quick guided tour: the signal flow starts with the Channel button; there users can select whether they want both sides of the signal to be processed, or only the left (L) or right (R) sides. The Input knob allows the input signal strength to be set accordingly; alternatively, pressing the AGC (Automatic Gain Control) button sets the signal strength automatically, based on the calibration settings. The Character section allows users to change the tone of their bass via three Type — Natural, Modern, and Vintage — settings; there users can also add additional, self-explanatory — Growl, Scoop, or Lo-Fi — Character features, or any combination of all of those settings. The SBG (Sub Bass Generator) section lets users adjust the Cut-Off frequency and also the Intensity of the generator itself to give the tone what it needs — and also give it some balls!

Better still, self-explanatory sections above and beyond that bottom-end ballsiness do exactly what they say on the tin — or, better said, the GUI itself: add Saturation to the tone to give it some grit and fullness; Shaping the tone comes quickly and easily, thanks to an eight-band, musically-labelled EQ and associated frequency switches to perfectly match anyone’s bass tone-shaping needs with better flexibility; the Punch section says it all — add some slamming punch to the tone, while, for better flexibility, there is also a compression release switch; sometimes it is necessary to go really deep with some surgical EQ — all is there for the taking in the Surgery section; anyone needing to have their tone more dynamically controlled but not completely dead need not look any further than the Smash section; the Effects section is where the fun really starts, so why not add an Octaver, Auto-Wah, Modulation, or all three? The aptly- named Finalizer section is where ToneSpot Bass Pro users can turn to add some finishing touches to their beloved bass tone — fatness, tightness, and smoothness are all but a dedicated touch of a button away in this mastering-friendly final destination!

Duly glancing at ToneSpot Bass Pro’s controls contained within those self-explanatory sections should surely convince that this powerful channel strip plug-in is a must-have addition to any modern-day record-production arsenal. As such, Audified’s perfectly-aimed opening ToneSpot series salvo has made hitting that bass tone sweet spot simpler, as well as being a lot more wallet-friendly.

For those to whom ToneSpot Bass Pro presents too much of a financial stretch still… ToneSpot Bass Express — featuring the same processing power as its bigger brother, but with a reduced control count — is coming soon!

ToneSpot Bass Pro is available to purchase for a time-limited introductory promo price of $49.00 USD until February 15, 2019 — rising thereafter to $99.00 USD — from Audified’s online shop here: https://shop.audified.com/products/tonespot-bass-pro

ToneSpot Bass Pro can be directly downloaded as an AAX, AU, VST2, VST3, 32- and 64-bit native plug-in for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a fully-functional, 30-day trial version — from Audified here: https://services.audified.com/download
For more in-depth info, please visit the dedicated ToneSpot Bass Pro webpage here: https://shop.audified.com/products/tonespot-bass-pro
Watch Audified’s ToneSpot Bass Pro promo video here: https://youtu.be/f2MQ7xqY9ag

Brainworx bx_oberhausen

The Oberheim OBX is a mainstay in music from the 80’s, being used by artists like Van Halen and Rush. Brainworx have used their TMT (True Modeling Technology) to bring this one into the digital space.

Brainworx brings acclaimed analog synth module back to the future with breathtaking bx_oberhausen VI debut

“The Brainworx bx_oberhausen is a fantastic synth! Being an owner myself of a few of the originals, I can clearly tell how good this sounds! Besides the original concept, it also comes with really great effects to make the most brutal or subtle patches you can imagine! A must-have for synth enthusiasts!”
– Tom Holkenborg (a.k.a. Junkie XL), GRAMMY® Award-nominated, multi-platinum producer, musician, and film composer, 2019

LEVERKUSEN, GERMANY: having hosted a successful ‘synth tasting’ event earlier this year at Sphere Studios in North Hollywood, healthily attended by industry insiders and electronica luminaries like BT, Paul Haslinger (ex- Tangerine Dream), and Tom Holkenborg (a.k.a. Junkie XL), Brainworx Audio is proud to announce availability of bx_oberhausen — the cutting-edge company’s highly-anticipated first VI (Virtual Instrument) after more than 10 years of creatively crafting top-tier mixing and mastering plugins, applying the same modelling know- how and technology to bring back an acclaimed analog synthesizer expander module in a future-facing, feature-packed form fit for today’s Digital Audio Workstation world — as of April 9…

bx_oberhausen draws deeply from Brainworx Audio’s extensive experience of working with analog audio equipment to creatively craft top- tier mixing and mastering plugins. As the cutting-edge company’s highly-anticipated first VI, it effectively revisits an acclaimed analog synthesizer expander module much loved by generations of musicians for its sought-after sound. The sound itself is reliant on fully-analog, discrete circuits and a classic state-variable 2-pole filter. First introduced in the Seventies, that trailblazing synthesizer subsequently proved popular — so much so that it was reissued in various form factors by its iconic creator using the same circuits as the original.

Original or otherwise, the acclaimed analog synthesizer’s sound now benefits from the ultimate upgrade. Thanks to Brainworx Audio ably boosting bx_oberhausen with full polyphony of up to 32 VOICES — twice the voice count of today’s priciest poly synths remaining resolutely in the analog domain, users can create sounds that are not possible using the original hardware! But better still, Brainworx Audio also includes its proprietary, patent-pending TMT (Tolerance Modeling Technology) that was first used on its industry-leading pro audio plugins like the Solid State Logic-approved bx_console SSL 4000 E and bx_console SSL 4000 G channel strips, therefore this is the most realistic recreation to date!

Digging deeper into the wonderful world of TMT, this works by ensuring each bx_oberhausen voice sounds slightly different. Why? Well, the original synthesizer’s creator specified acceptable tolerances for the individual electronic components used in its manufacture, making for slight variations in its sound — especially evident when several such synth voices are played simultaneously. So Brainworx Audio took those tolerances into account when modelling the analog hardware to arrive at a more authentic, analog-sounding result. Indeed, it is those slight variations in frequencies and phasing as well as frequency responses that add the complexity, depth, nuance, and width to the resulting synth sound.

Saying that, bx_oberhausen’s voices can be combined into a powerful UNISON mode which — when used with the unique TMT feature — forms a complex, rich, and authentic analog sound simply unrivalled by any other VIs. ‘Virtual vitamin’ boosting brings Mid/Side (M/S) technology to bx_oberhausen, further facilitating its uniqueness. Users can select which part of the sound passes through the filter section and which part does not. Results ranging from a solid bass foundation to crazy stereo processing are all perfectly possible!

Pushing onwards and upwards, bx_oberhausen benefits from an intuitive set of effects modules based on some of the Brainworx Audio brand’s best effect plugin products, plus partner Mäag Audio’s AIR BAND® shelf boost EQ. So signal chain changes in bx_oberhausen’s FX section can quickly be made with drag and drop functionality.

Further features of note include an Arp (arpeggiator) with an adjustable Swing parameter and a sound design dimension-enhancing Mod (modulation) matrix. Meanwhile, Brainworx Audio also took this opportunity to add FREQ MODULATION (Frequency Modulation) to an analog classic.

Complete with over 300 presets professionally created by celebrated sound designers to get them started, bx_oberhausen users can categorise their own sound creations for easy recall while also adding notes. Needless to say, the in-plugin preset management system itself is fully NKS (Native Kontrol Standard) compliant, so integrates well with NKS-enabled products.

Put simply: “A must-have for synth enthusiasts!” So says GRAMMY® Award-nominated, multi-platinum producer, musician, and film composer extraordinaire Tom Holkenborg (a.k.a. Junkie XL). After all, as “…an owner of a few of the hardware originals…” he should surely know!

bx_oberhausen is available for purchase — as an AAX Native-, AU-, VST2-, and VST3-supporting Virtual Instrument plugin for MacOS (10.9 through 10.14) and Windows (7 through 10) — exclusively from Brainworx Audio’s US-based sister company/distribution partner Plugin Alliance for an introductory price of $179.00 USD, rising to $249.00 USD thereafter — from here: https://www.plugin-alliance.com/en/products/bx_oberhausen.html

From April 9 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 the dedicated bx_oberhausen webpage here: https://www.plugin-alliance.com/en/products/bx_oberhausen.html
Watch Brainworx Audio Director of Product Management Christian Diehl’s informative introductory bx_oberhausen video here: https://youtu.be/zBTiDpWTxc8

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