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PreSonus Fat Channel Plug-ins Deliver Expandable Processing for StudioLive Series III Mixers


Thanks to advanced engineering and the unique interoperability between PreSonus® hardware and software, you can now enhance your StudioLive® Series III mixer and Studio One® Fat Channel with plug-in processors. These plug-ins are virtual signal processors that load in any StudioLive Series III console or rack mixer’s Fat Channel, expanding the Fat Channel processor library much like plug-ins do in a DAW. Each plug-in comes in both StudioLive Series III format and Studio One format so you can use your new processor in both Fat Channels. No other mixer anywhere near StudioLive Series III’s price class has expandable processing.

PreSonus Fat Channel plug-ins are state-space modeled by world-class engineers with Ph.D.’s in analog signal processing to faithfully produce the sound and response of the original hardware processors. The initial release includes 15 EQs and dynamics processors, which are available individually or in bundles.
The four Fat Channel plug-ins that constitute the PreSonus Bundle are models of classic PreSonus hardware processors and are free to all registered users of StudioLive Series III consoles and rack mixers. The Classic Studio, Modern Classics, and Vintage Channel Strips bundles may be purchased individually from authorized PreSonus dealers or from shop.presonus.com—or supercharge your StudioLive Series III mixer and Studio One by purchasing all three bundles, for a total of 11 plug-in processors, in the Fat Channel Collection, Volume 1.

For more information about PreSonus Fat Channel plug-ins and plug-in bundles, please visit  www.presonus.com/products/Fat-Channel-Collection.

iZotope Vocal Synth 2 Coming Soon


iZotope have been updating various plugins to work with their new centralized system including Masking Meter, Visual Mixer, and Tonal Balance Control. Vocal Synth seems to be the next in line with Vocal Synth 2, complete with added bells and whistles. (See reviews for Neutron 2 Advanced and Ozone 8 Advanced)

Sneak peek: VocalSynth 2

We’ve made improvements across the board in VocalSynth 2. We’ve added a new module, new and improved effects, deeper control and customization for every module, inter-plugin communication capabilities that work with Ozone 8 and Neutron 2, enhanced stereo processing functionality, and optimizations in sound quality and performance.
Here’s a sneak peek at a few of the key features coming in the second version.

Biovox

A new module that models the physics and sounds of the human vocal tract. We used scientific modeling of a human vocal tract to develop this brand new module so you can adjust human vocal characteristics like nasality, vowel shapes, and formants for a smooth, textural vocal treatment. Biovox is great for adding character, breathiness, and shape for a little secret something you can’t get anywhere else.

A stompbox playground

The effects section of VocalSynth 1 was a fan favorite. In version 2, we’ve added a much-requested feature: the ability to drag and drop to reorder modules. We’ve also revamped Shred for a better experience and added two brand new effects: Chorus and Ring Mod: a ring modulator that doubles as a unique tremolo-like effect.

Overall sonic improvements

VocalSynth 1 marked a milestone in vocal production processing: the ability to blend and shape multiple iconic vocal effects in parallel and create something entirely new. Over time, we heard from some users that they wanted deeper control of each module. For version 2, we’ve focused on improving sound quality and adding deeper control across the plug-in. With the addition of Advanced controls in all modules including including access to Vocoder band controls, per module Oscillator presets, and per module panning and filters, you’ll have a new depth of control for a better sound, faster than ever.

Inter-plugin communication

For existing Music Production Suite, O8N2, Ozone 8, or Neutron 2 customers, we’ve added the ability to see VocalSynth 2 in Neutron 2’s Masking Meter and Visual Mixer as well as in Tonal Balance Control. Get a comprehensive view of your production with all inter-plugin communication enabled across these connected iZotope products.

For more information, keep your eyes on https://www.izotope.com

Antares Auto-Tune Pro


The name has become a verb in the music industry. Using pitch correction is a must in an industry that demands surgical perfection. Auto-Tune has released a new version of the award winning software.

Santa Cruz, CA— April 24, 2018 — Antares Technologies, the global leader in professional vocal processing tools, is thrilled to announce that Auto-Tune Pro is now available. This new, most advanced version of the industry-standard pitch-correction software, can be purchased at antarestech.com and at authorized dealers worldwide.
For two decades, Auto-Tune has remained the industry standard for natural, real-time pitch correction and vocal effects. With Auto-Tune Pro, Antares has incorporated its most advanced engineering innovations along with feedback from the user community to develop a flagship application aimed at raising the bar for music production, in the studio and onstage.
Auto-Tune Pro features a sleek, intuitive interface that has been redesigned from the ground up for streamlined workflow, offering new modes optimized to help users work smarter and faster, whether they’re novices or seasoned pros. The update adds ARA (Audio Random Access) support and incorporates user-requested features such as Classic Mode for creating the legendary Auto-Tune 5 sound.
New Features in Auto-Tune Pro:
New Interface Modes Auto-Tune Pro’s interface has been completely redesigned for ease of use and efficient workflow. A new Automatic mode lets users select Basic View, which provides a simplified work environment pared down to Auto-Tune’s four most-used functions; or Advanced view, which offers comprehensive controls.
Classic Mode Back by popular request, the iconic Auto-Tune 5 DSP algorithm is built into AutoTune Pro’s Classic Mode, for users who want to create that legendary Auto-Tune 5 sound.
Automatic Key Detection Auto-Tune Pro’s included Auto-Key plug-in automatically detects music key and scale and sends those parameters to one or more instances of Auto-Tune Pro automatically.
Audio Random Access Support for Compatible VST3 DAWs ARA technology allows closer integration and exchange of information between audio plug-ins and host applications (digital audio workstations). Users can now edit in Auto-Tune Pro’s Graph Mode without first playing through the selection to track the audio into Auto-Tune.
Improved Graphical Mode Auto-Tune Pro’s Graphical Mode interface has been redesigned from the ground up, incorporating a larger Main Graph, greater zoom resolution, programmable zoom presets, and reconfigured controls that optimize workflow efficiency.
HiDPI Support Auto-Tune Pro offers complete support for Retina and other high-resolution screen displays.
MIDI CC Control of Parameters In Automatic Mode, use a MIDI controller to make real-time adjustments to Auto-Tune parameters such as Retune Speed, Flex-Tune, Humanize, Throat Length, and Vibrato functions. Assign parameters to MIDI device controls to perform dramatic effects in real time, on stage or in the studio.
Redesigned Settings Menu Auto-Tune Pro’s updated Settings menu, featuring a new Preferences dialog, provides new options for customizing Auto-Tune’s behavior and appearance.

Auto-Tune Pro is available for $399; customers who purchased Auto-Tune 8 on or after January 1, 2018 will receive a free upgrade to Auto-Tune Pro. Users of any previous version can upgrade for $129. For more information, visit www.antarestech.com.

Avid Pro Tools 2018


Avid has announced quite a few new tricks to the Pro Tools Stable with newly incarnated Pro Tools 2018 (I was wondering if they were going to go with the “unlucky” 13).

Avid® (Nasdaq: AVID), a leading global media technology provider for the creation, distribution and monetization of media assets for global media organizations, enterprise users and individual creative professionals, today announced a new version of the industry-leading digital audio workstation Pro Tools®. Part of Avid’s comprehensive ecosystem of creative tools and powered by MediaCentral®, the industry’s most open and efficient platform designed for media, the release of Pro Tools 2018 enhances the creative experience and accelerates workflows for greater collaboration with new features including Track Presets, retrospective MIDI record, MIDI editing enhancements, Playlist Comping enhancements, and much more.
In direct response to customer feedback and building on recent releases of Pro Tools music creation features, Pro Tools 2018 enables songwriters, composers, musicians, producers, and mixers to focus more on the creative process and less on laborious tasks. The new retrospective MIDI record feature ensures that users will never lose a performance, while shortcuts to quickly transpose, trim notes and edit velocities make music creation quicker and easier.
“With Pro Tools 2018 musicians can create at the speed of their inspiration and turn ideas into music,” said Dana Ruzicka, Chief Product Officer, Avid. “Avid product releases are centered around feedback from our community of professional and aspiring musicians, and with Avid’s creative ecosystem, they can collaborate and create music in Pro Tools more fluidly than ever before.”
New Pro Tools 2018 features that help musicians focus on their craft and creativity include:

  • Track Presets enabling quick preset browsing to build sessions on the fly.

  • New playlist comping workflows to save valuable screen real estate, and provide the ability to edit grouped tracks with ease and work quickly from Waveform view.

  • The ability to easily convert sessions to cloud-enabled product files for faster collaboration.

  • Mix Window EQ Graphs to intuitively display the combined EQ effects inserted on a track.

 
Availability
Pro Tools 2018 is available now. For more information, visit http://www.avid.com/pro-tools.

IK Multimedia Debuts London Grooves Drum Kit for SampleTank 3


IK Multimedia announces London Grooves, an instrument collection of acoustic drum kit grooves for IK’s ultimate sound and groove workstation, SampleTank 3. Recorded by top drummers in London, this massive collection covers indie, rock and pop styles. With more than 1,500 high-quality WAV files, 1,200 ready-to-mix drum stems, and 300 stereo grooves, London Grooves is an ideal resource for producers and musicians who are looking to incorporate authentic drum sounds and carefully crafted grooves in their productions.

London Grooves was created in collaboration with multiple GRAMMY® Award-winning producer Cameron Craig, two super session drummers – Jason Cooper (The Cure, David Bowie) and Jeremy Stacey (King Crimson, Noel Gallagher’s High Flying Birds, Ryan Adams, Roger Daltrey, Sheryl Crow, Tom Jones, Etc.) – and Filippo Gaetani of Ray Recordings.
The collection includes finely recorded drum grooves with unsurpassed authenticity and character that will elevate the level of any production. Unlike simplistic (and generic-sounding) drum loop collections, London Grooves offers genuine performances where every beat and stroke embodies the unique playing abilities of these drummers.
Drums unlimited
Thanks to the flexibility and power of SampleTank’s engine, musicians can explore countless creative possibilities but with a unified approach to treating an instrument like an acoustic drum kit, which by nature is typically recorded using multiple microphones. In London Grooves, loops are treated like the parts of a real drum kit, with its multi-mic setup, and the resulting stems feature multiple audio loops of Kick, Snare, Toms and Room Mics that run simultaneously.
Stems come as separate SampleTank Elements, allowing further editing of synth-like parameters like pitch, filter, envelopes, and LFOs for a highly creative outcome. SampleTank Macros let users dynamically adjust the level of each stem independently, similar to using a real analog mixing console.
This collection also includes stereo mixdown versions of SampleTank 3 instruments. In addition, 44.1kHz/24-Bit WAV files are available, for immediate drag and drop into a session.

Fine-tuned recording in the heart of London
Jeremy Stacey’s recording sessions took place at The Pool, one of the most iconic facilities in London. Centered on an ultra-rare EMT console surrounded by some of the most coveted analog equipment, the studio’s selection also includes over 20 compressors, more than 40 different microphones, and 50 mic preamps. The main live room is large and spacious, with a “warehouse feel” that makes drums sound surprisingly well controlled. For the session, Jeremy used his Tama Star Maple drums in a 22″ 12″ 13″ and 16″ configuration, a Tama Starphonic snare, a Vintage Slingerland snare and his one-of-a-kind White Rogers snare and Istanbul Agop cymbals. Microphones included Neumann FET47s, an AKG D30 on the kick drum, Neumann U87s on toms and STC4038’s as overheads, fed into classic Neve 10 series pre/EQs.Jason Cooper recorded in the live room of Narcissus Studios in Willesden, London. Starting with his Brady kit in Jarrahwood and Ludwig 14×6″ Black Beauty as the basis, the configuration included different kick drums and snare drum models and sizes from Noble and Cooley, Yamaha, and a selection of Zildjian cymbals to best suit the attitude of the recorded beats.
For the drum sound, a mix of vintage and modern microphones were used along with various Neve 1064 pre/EQ modules, with UA 610, Analogue Addicts or Sontronic Sonora II preamps called into action on occasion. To create pristine sounding loops that had some grit, drums were processed using vintage compressors like Gates and Urei’s as well as Sansamp units for a bit of distortion and attitude.
Veteran producer and mixer Cameron Craig brought his recording and producing expertise to the sessions, resulting in top-notch sounds with incredible authenticity and character that perfectly fit any production.
A two-time GRAMMY Award-winning producer/mixer/engineer, Craig’s impressive credits list includes Adele, Annie Lennox, Björk, Amy Winehouse and many more. His work encompasses an enormous spectrum of musical styles including indie, dance and orchestral recordings, and he’s been honored with a GRAMMY award for “Album of the Year” for his part in recording Adele 25.
The power of SampleTank 3
The original SampleTank was the first-ever sample-based sound workstation for computer. SampleTank 3 builds on that heritage as the industry-standard sound workstation. It features more than 4,000 instruments in 21 instrument categories, including drums, bass, synths, piano, strings, brass, DJ loops, and much more. Also included are drum, percussion and full groove construction kit loops and MIDI files. This massive library of sounds, instruments, patterns, loops and grooves can be customized, enabling it to cover all styles of music such as jazz, rock, pop, funk, EDM, hip-hop, dubstep, house and beyond.
London Grooves is the newest acoustic drums title available for SampleTank 3 (other titles include Cinematic Percussion, Orchestral Percussion, Neil Peart Drums, Billy Cobham Drums, Terry Bozzio Drums, and Hugh Padgham Drums).
London Grooves Library content
SampleTank 3 Instruments Stereo version
– 35 Loop Instruments for 300+ audio loops
SampleTank 3 Instruments Multitrack Stems version
– 35 Loop Instruments for 1200+ audio loops
Audio Files Stereo and Multitrack Stems version
– 1,500+ Wav audio files
Pricing and availability
London Grooves is available for download from the IK Multimedia online store for $/€79.99*.* Price excluding taxes
For more information about London Grooves and the talent and gear behind its recordings, please visit:

Focal Shape Twin Monitors


We use Focal here at Everything Recording HQ and love them. Our Solo 6 Be Black Editions are as good looking as they sound. Focal Professional last year, added the Shape line to its arsenal and is proud to expand the line with the Shape Twin Series.

Montreal, Canada — April 12, 2018 —Focal has announced they are shipping the new “Shape Twin” monitors, expanding the Company’s Shape professional powered monitor series. This new standard bearer of the Focal Shape series features two passive radiators, woofers equipped with a new Flax cone, and the latest ‘M’-shaped Aluminum/Magnesium inverted dome tweeter. Shape Twin is made in France, just like Shape 40, 50 and 65. Designed to meet the needs of near-field monitoring, these monitors combine an ingenuous design and numerous settings optimized for the acoustics of small listening rooms. Shape Twin stands out through its excellent rendering over the whole audio spectrum, its broad frequency response in the low end, and its high SPL considering its size. The compact design makes it easy to integrate even into the most cramped of rooms. Finally, its 2.5-way design gives it a decisive advantage when it comes to controlling the bass and lower mid-range registers, which are the hardest to control in small rooms. The new Shape Twin monitors are now shipping, US street price is $1099. each.
Like its predecessors, Shape Twin sets itself apart at first glance through its unique design. The front and top of the MDF cabinets are finished with an authentic, natural stained, walnut veneer. The curved shape of the top of each loudspeaker was calculated specifically for each monitor in order to ensure a linear frequency response in the high end. The natural wood finish recalls the finishes of Focal Twin6 Be studio monitors, and perfectly complements the new flax cones.
Developing speaker driver cone technologies is part of Focal’s core expertise. The Flax sandwich cones used for the woofers are composed of two materials: glass fibers and flax fibers. A layer of flax fibers is sandwiched between two layers of glass fibers. Glass fiber cones were also used on the “W” composite sandwich cone of the SM6 and SM9 series, and are revered for their high rigidity considering their light-weight. The sandwich cone needs to provide good damping while being as light as possible. Flax fibers are twice as light as glass fibers as they’re hollow. What’s more, they also have very low elasticity. This increases the speaker driver’s Young’s modulus when in excursion, an essential property to ensure a piston-like action even in the very low end. Finally, it is composed of 80% cellulose which gives it excellent damping properties. So, it was only natural for us to choose this material. This new technology has proven to be a considerable improvement over the Polyglass cone in terms of weight, rigidity and damping.
TMD Suspension: New finite element method simulation tools have enabled us to identify an essential component, which could be improved: the suspension. The solution actually came from the world of civil engineering and famous skyscrapers, such as Taipei 101. It consists of a 660-tonne steel sphere suspended to a pendulum at the top of the building. It acts as a harmonic absorber to ensure the stability of the building in strong winds. TMD suspension is based on the same principle: to optimize harmonic absorption to ensure a piston-like action for the whole audio spectrum reproduced. Thus, two rings have been integrated into the suspension. The diameter and location of these rings are determined according to the flexibility of the suspension, its elongation, its resonance frequency and the targeted frequency response curve of the speaker driver in excursion. This technology provides a linear frequency response curve between 1 and 2kHz, while significantly reducing distortion in the same range. With this the mid-range register benefits from remarkable neutrality. It also contributes to the excellent precision of the overall stereo image.
Neutral Inductance Circuit: The magnetic field is very difficult to control because it’s modulated by three factors: the movement of the voice coil, the current passing through it and the frequency. Consequently, the voice coil and the moving part take support on the magnetic field which becomes too “flexible”, and this eventually leads to a loss of precision. This is where the recourse to finite element method simulation tools pays off. It made it possible to visualize these complex interactions, and enabled us to come up with an extremely stable magnetic circuit: N.I.C. techno- logy (Neutral Inductance Circuit). This solution consists in a Faraday ring whose dimensions, materials, and positioning have been optimized so that the magnetic field is no longer affected by the position of the voice coil, by the amperage or by the frequency of the current passing through it. This also increases frequency response in the high end of the spectrum, thus optimizing the crossover with the tweeter while reducing harmonic distortion and inter-modulation.
New Tweeter: Focal has further improved its famous Aluminum/ Magnesium inverted dome tweeter by coming up with two significant mechanical innovations: the new ‘M’- shaped dome and the new suspension, like that used on the tweeters of the SM6 and SM9 lines. The inverted ‘M’-shaped dome offers two major advantages. Its directivity is even less that of the inverted dome tweeter, allowing for more flexibility in terms of listening position. Mechanically speaking, the ‘M’ shape gives the dome much more rigidity while reducing distortion even more. In addition to this, the Poron® suspension provides a more linear frequency response curve below 6kHz, improving crossover with the woofer. The magnetic component has also been optimized thanks to a voice coil with a Kapton® frame which significantly reduces the Foucault current, and consequently, distortion. The horn housing the tweeter has been designed to provide equal horizontal and vertical directivity.
Double Passive Radiator: The 8″ (21 cm) double passive radiator on Shape Twin monitors is an ingenuous solution to a common issue encountered with near-field monitors: to combine a com- pact design, extended frequency response in the low end and comfortable positioning. Indeed, when ported systems meet their limits in terms of integration (a long-enough port to match its surface is required), the passive radiator is the ideal solution. However, rocking modes can often occur depending on the frequency and the volume. In order to compensate for this phenomenon, two U-shaped suspensions positioned opposite each other join the passive disk to the basket, ensuring perfect symmetry during excursion and incursion. Finally, the very low tuning frequency allows Shape Twin to be placed very close to a wall.
Electronics & Settings: Class AB amplification was the obvious choice for these monitors in order to provide optimal control over the audio signal’s dynamic range. Both 5″ (13cm) woofers are powered by a dedicated 80W amplifier channel, which ensures tonal balance however high the volume. As for the settings, particular attention has been paid to integration, regardless of the room’s acoustics. Shape Twin features a comb filter for high and low frequencies (HF: +/- 3dB from 4.5kHz; LF +/- 6dB above 250Hz).
Accessories & Installation: Shape Twin comes with 4 adjustable decoupling spikes. The height of the front and rear spikes can be adjusted to solve any problems which are sometimes encountered due to the monitors not being at the same height as the listener. The angle changes the height of the soundstage to best suit the height of the sound engineer. A clever finishing touch to the spikes is their rubber coating. This improves isolation of the loud- speakers in relation to their support. Each monitor is supplied with three specific protective grilles for the two woofers and the tweeter. Particular attention has been paid to efficiency, with a design, which enables the grilles to be removed or assembled without tools. We haven’t forgotten the diversity of listening environments and set-ups, so. Shape Twin is equipped with fastening mechanisms on the back and underneath so that they can be mounted to the wall or ceiling.
Shape Twin’s five innovations are the source of the great acoustic performance of this professional work tool. The 2.5-way design brings out the best of two 5″ speaker drivers. The woofer in the lower section of the cabinet is used for the 40-180Hz range, whereas the second transducer is dedicated to frequencies between 40Hz and 2.5kHz. Thus, the emissive surface dedicated to the bass frequencies is equivalent to that of an 8″ subwoofer, with the extra advantage of being compact. The aptitude to work on the mid-range and upper mid-range is considerably increased with a 5″ speaker driver com- pared to larger transducers. This physical advantage is further enhanced thanks to Flax cone technology whose damping properties are unrivalled in this price range. Thus, the slightest lack or addition of information in this register is immediately emphasized, allowing engineers to achieve remarkably precise mixing and equalisation. The sound of these new work tools distinguishes it- self through the wide and extremely precise stereo image, facilitating the task of arranging the different tracks. What’s more the bass register is articulated and controlled. Shape Twin’s 2.5-way “d’Appolito” configuration ensures extremely precise control of the bass and lower mid-range while making it easy to integrate into all interiors thanks to its low footprint. Finally, the new tweeter is what’s at the source of the very high definition. It efficiently reveals any hissing, and it’s also very precise in the very high end. This is why Shape Twin has become the standard-bearer and absolute reference of the Shape line.

Price: $1099 (each)
For more information on Focal Professionalmonitors, please visit: www.focal.com/en/pro-audio

Ploytech Mango


 
One knob plugins are great. They serve a specific purpose and are extremely easy to use. Ploytech has release Mango, A tool for “sweetening” tracks.

Ploytec GmbH/ ism/ Germany (April 26th, 2018) (ictw) – Ploytec, the audio specialists from southern Germany and intelligent sound & music, the Cologne-based plug-in experts, just released their newly developed audio tool Mango.
According to the makers, it’s creating luscious sounds in an extraordinary musical manner. The fruity valve or tape like “decadent dessert” is supposed to take your audio material to another level. It’s described to “add the perfect amount of ear candy” to your sound.
Primarily designed for mastering, Mango also changes the character of vocals and instruments. An additional Mid/Side processing option allows fine-tuning of the stereo base. It can be used in combination with their successful Aroma tools or standalone.

The plug-in is available as VST2, VST3, AU and AAX, Mac and Windows, free to try, EUR 69 to buy. Ploytec will be part of Superbooth, Berlin, May 3rd – 5th 2018, booth #0200, where they also show latest USB2 Audio technology, their new USB2 MIDI chip “GM2” and a MIDI clock tap tempo pedal called “ONE2”.
Product page: www.ploytec.com/mangowww.ismism.de/mango

Audified RecAll Live Recording DAW


 
Recording live can be a pain and most DAW’s aren’t built to tailor to the special situations that the live environment brings to the table. Enter Audified RecAll.

Host application and audio effects developer Audified is proud to announce availability of RecAll — revolutionising risk-free “Record it all” live event capture as an easily set up and easy to use multichannel MacOS application (developed in Cocoa, directly accessing Core Audio) — as of April 20…
RecAll really resulted from the facts of (recording) life (often on the road) posing some serious questions. Questions like: An awesome live show but no time for slow DAW (Digital Audio Workstation) preparation? Risk missing an important part of the event? Easier said than done, Audified advanced some simple solutions: Record it all. Simply. Quickly.
Not quite so simple — or quick, probably, putting those solutions into practice produced an appropriately named result: RecAll. Reality dictates that when working sound reinforcement events there is usually next to no time available for ancillary recording. After all, although most DAWs can be set up to record multichannel events, configuring them to do so is never a straightforward event in itself. Indeed, truth be told, overly-featured DAWs are not really geared up for risk-free, no-nonsense live event recording. RecAll revolutionises that sorry scenario. Simply. Quickly.
Quickly cutting to the chase, how does it do that, then? The RecAll name gives the game away. Record it all. Simply. Quickly. Open the application, select the setup from the template menu, and hit Record. Really, it’s that easy!
No need to spend valuable time repeatedly naming inputs and channels on a DAW anymore as RecAll takes care of that. That being said, it also allocates intelligent metering, automatically toggling between the two types available during the recording process. Before recording starts, standard meters show the input level at the time. When recording starts, the meters show the signal history, so no need to check them constantly, which is especially useful if RecAll’s main window is hidden. Preview recorded tracks with the click of a button. Export the takes into (almost) any DAW for mixing — all the tracks are automatically structured and titled when dragging and dropping the files from each take. Intelligent multitrack recording… without the trouble.
Trouble-free, easily set up, and easy to use, Audified’s revolutionary RecAll multichannel MacOS application allows for a maximum of 256 stereo and mono channels. All are recorded as CAF (Core Audio Format) files, a ‘container’ for storing audio designed by Apple to overcome limitations of older digital audio formats. Firstly, it is not limited to a 4GB file size, so can theoretically save hundreds of years of recorded audio due to its use of 64-bit file offsets. That in itself renders the file format as a perfect candidate for live event recording — always a risky business by virtue of there being no second chances. CAF also allows use of the files to the point where recording stopped, even if forced upon the unsuspecting recordist as a result of unfortunate or unforeseen scenarios, such as running out of disk space on the drive being recorded to or disconnection — accidental or otherwise — of an audio interface. Helpfully, however, RecAll offers three ways to open a project — one for creating a new project with a fresh hardware connection (selecting the number of stereo and mono channel strips), one for creating a new project with existing hardware (reusing an already-created channel setup, track names, and colours), and, crucially, one to continue working on an already-created project (which is useful if RecAll had to be quit through no fault of its own before continuing with an existing project).
Project configuration adjustments can be made directly from within RecAll’s main window, including adding or removing channel strips, arming channels for recording, and toggling between mono and stereo tracks, while complete configuration is available in the Inspector window, where users can select one or more channel strips to be edited using standard modifiers, such as shift (to select a range of channel strips) and command (to select several strips at any position). Once in the Inspector window, assigning channel strip names and colour, arming channels for recording, toggling between mono/stereo, and assigning channels to the strip remains simplicity itself. It is also worth noting that if multiple tracks end up with the same name, RecAll automatically adds indexes to distinguish between them. Manually reindexing a channel strip is also perfectly possible, in which case RecAll reindexes the rest of the channels strips to ensure unique naming remains intact.
Risk-free recording duly completed, RecAll users can quickly check the recorded files from the main window or within the Track Player window (which can be detached from the main bar by simply dragging it to another position). Press the Play button in the main bar to play the master (mixed) track or press the Play button in individual channel strips to listen to individual input recordings. Most of the playback controls are standard and are just like the transport found in any DAW. Alternative takes — part of a recording between pressing the Record and then the Stop buttons (visible to the right of the Project name) — can be heard by using the < or > buttons (or selecting from the Take menu).
More meaningfully, as implied by its appropriate appellation, RecAll really records it all. Simply. Quickly. Question is: if tasked with recording an awesome multichannel live event, is it really worth risking using anything else?
RecAll is available to purchase for $49.00 USD from Audified’s online shop here: https://shop.audified.com/products/recall (Note RecAll requires iLok License Manager 3.1.6 or newer as it is protected by PACE Anti-Piracy Inc.’s software machine license or USB smart key device, details of which are highlighted here: https://shop.audified.com/pages/how-to-activate-ilok-license)
The latest version (1.0.2) of RecAll can be directly downloaded for MacOS (10.9 and above) from Audified here: https://services.audified.com/download/RecAll-1P-102-Mac
For more in-depth information, please visit the dedicated RecAll webpage here: https://shop.audified.com/products/recall
RecAll can be seen and heard in this informative introductory video here: https://youtu.be/bwObwZsPLLY

Flux Evo Channel


 

Flux:: and Plugivery today proudly announce the launch of a new flagship product, EVO Channel, the next-generation channel strip that might just revolutionize the workflow of today’s audio engineers. Evo Channel is available as of today from all reputable pro audio resellers and music stores around the world at the affordable price of ONLY $119 (List $149).
Today, Flux::, an established audio software company that creates intuitive and technically innovative audio software tools and Plugivery, a leading audio software and virtual Instrument distributor are proud and excited to announce the launch of Flux’s long-awaited Channel Strip called “EVO Channel”.
Over the past two years, Gaël Martinet (Founder at Flux::) and longtime friend and colleague from the music industry, Yves Jaget, have been hard at work developing and designing a “modern” software Channel Strip, now called Evo Channel.
The Evo Channel is an adaptable module-based channel strip plug-in comprised of 5 highly innovative audio processing modules that include Drive, Phase, EQ, Compressor, and “Touch” an original polymorphic frequency dependent dynamic tool (DeEsser, Expander and a Transient / Sustain Designer).
Evo Channel also contains its own highly original elements such as free-form linear phase adjustment, an optimized compressor with 9 selective types (for instrument and bus groups), and a unique multi-tool module “Touch” to process transient material in a defined frequency range and lots more.
With complete multi-channel support for Dolby Atmos and Ambisonic systems for post-production, the Evo Channel is the go-to plug-in for any sound engineer that needs an ultra-precise great-sounding channel strip that’s fast and easy to tweak. Evo Channel is available in the AAX Native and Audiosuite, AU, VST, and Waves WPAPI formats making it available in all professional situations. Evo Channel also handles High-Resolution DXD Audio with sampling rates up to 384 kHz is supported.
The story of Evo Channel
The philosophy of an Analog Channel Strip (the essential element of an analog console) is about being fast and efficient. Great Channel strips should make anything sound great as soon as a signal passes through it and refinements are made.
EVO Channel is designed to be as efficient, fast and hands-on as possible. It adds all the advantages of creative digital innovation in terms of workflow and sound, providing everything you need to stay in complete control of your sound!
Sound engineer Yves Jaget says: “All the right tools are there to assist the creativity of a sound engineer,  and the technology should not limit what he can do – It’s still the human who need to be making the decisions!”
The Evo Channel can be considered as the ultimate channel strip plug-in for any mixing/mastering situations, with each module providing the sound shaping tools needed for a particular or required application.
Features
• An adaptable module-based design that allows free movement of channel strip modules into any order.
• An optimized Spectrum Analyzer derived from Flux’s acclaimed “Pure Analyzer” software. It offers a truly accurate overview of the frequency range.
• “Drive”, a Soft Saturation module that simply adds analog warmth to your audio tracks.
• A Flux designed Linear Phase correction tool with zero latency.
• A proprietary “State-Space” technology Parametric EQ and filters that have been carefully tuned to preserve optimal signal to noise ratio independently from parameter settings.
• A “multi-mode” Compressor taken from the acclaimed Flux:: “Pure Compressor’s” engine. It offers 9 types of compressors in a single module (Start, Kick/Snare, Overhead, Drum Bus, Bass, Acoustic, Piano, Vocal, and Mix). It moreover offers a unique auto adaptable release control as well as parallel wet/dry features and other useful parameter adjustments.
• “Touch”, a multi-tool module defined by 7 specific modes such as: Transient Boost, Transient Kill, Sustain Boost, Sustain Kill, DeEsser 1, DeEsser 2, and Expander. Each of the 7 modes obviously act on a specific frequency range of the incoming audio signal.
• Dolby Atmos and Ambisonic support with up to third order 16 channel. High-Resolution DXD Audio with sampling rates up to 384 kHz is supported.
• Memory location store and recall for input and output gain controls and all parameter knobs for quick access level and value changes.
• 50 useful Factory presets included from Yves Jaget.
• And lots more…
Video Content
Here are 4 video tutorials that clearly explain each section of the Evo Channel:
Tutorial 1
https://www.youtube.com/watch?v=2px8fI3oQes
Tutorial 2
https://www.youtube.com/watch?v=cpvqC6vK1II
Tutorial 3
https://www.youtube.com/watch?v=eDf0hicP73U
Tutorial 4
https://www.youtube.com/watch?v=IBRTe0Bjssk
Pricing and Availability
The Flux:: Evo Channel is available as of today at the affordable MAP price of ONLY $119 (List $149) from all reputable pro audio resellers and music stores listed at Plugivery:
http://www.plugivery.com/about/dealers/

Slate Digital VMR 2.0


Slate Virtual Mix Rack is a mainstay at Everything Recording HQ (Review Here), but it had a few requests for new features. Well, Slate has checked off a few of those “wants” in version 2.0.

VMR 2.0 allows audio engineers to easily create the channel strips of their dreams using a library full of analog modeled plugins. Choose from dozens of modules including vintage modeled EQs, compressors, enhancers, filters, preamps, mixing consoles, and more. But even beyond the sound you can get with VMR 2.0, you also get the added bonus of speed and efficiency from having your entire processing chain in one convenient window. VMR 2.0 ships with the Mix Bundle One, which contains four Slate Digital processing modules: FG-401 Compressor, FG-S EQ, FG-161 FET Compressor and FG-N EQ.
VMR 2.0 opens with your own custom dream channel strip by default. So whenever VMR 2.0 is launched the leftmost Dream Strip always loads first. Now you can instantly start mixing with the modules you use the most.
VMR 2.0 comes with seven default Dream Strips, although you can remove them and make your own. You can change the vibe, color and sound of your mix with a single click and easily undo and redo your changes.
You can easily see all of the processing modules installed in the Library Pane, and you just drag and drop to get them into the signal chain. You can also drag to reorder the modules as well.
With VMR it’s easy to clone an entire signal chain for comparison – just press the right arrow and everything currently on path A is copied to path B. Once cloned, you can change some parameters on the alternate path, or even swap out entire modules. To A/B the signal chains against each other, just press the A or B button in real time to hear that signal chain in action.
You can load up to eight modules at once into VMR, but it’s still easy to solo or mute any of the processing modules you have loaded using the Solo and Power buttons. Push the “S” on any module to hear it alone in the signal chain, and hit the “power” button to turn it off.

  • Dream Strips – 8 Instantly Recallable and Customizable Channel Strip Configurations Accessible with 1-Click
  • Redesigned Interface
  • Easy Undo & Redo
  • Removed Noise from the following modules: FG-N, FG-S, FG-Stress, FG-73, FG-76
  • Added a Clear Rack button
  • Introduced the Oversampling option (through Settings menu)
  • Added a second Library view: List view
  • Added a “Search Modules” feature in the Library

Slate VMR 2.0 is available now.
For more information, visit http://slatedigital.com/virtual-mix-rack/#features

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