82.2 F
Houston
Sunday, September 22, 2024
Facebook Instagram Mail Soundcloud Twitter
AffiliateMusic Software Bundles from Pluginboutique.com
Home Blog Page 30

AS Accepts Preorders for Fusebox Analogue

By
Bryan
-


Just like with studio hardware, analog has a different flavor than digital. This can be just the thing needed to stand out from the crowd. Why not preorder the Fusebox Monosynth?

KINGSWINFORD, UK: with the first batch having effectively sold out in advance, British boutique electronic instruments innovator Analogue Solutions is proud to announce that it is accepting second batch preorders for Fusebox — an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesizer that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities (in a beautifully-built box)… before plugging in any MIDI (Musical Instrument Digital Interface) cables, even — as of October 6…
As implied by the REAL ANALOGUE VOICE & MODULATION CIRCUITS ‘caption’ boldly blazoned across a brightly-coloured orange panel fronting a no- compromise steel/aluminium-constructed casing (with no plastic mouldings) that’s sure to stand out from (the sound) of the crowd — to partially paraphrase the early-Eighties British breakthrough hit from synth-pop pioneers The Human League (who have a soft spot for Analogue Solutions synthesizers themselves), Fusebox is a true analogue monophonic synthesizer in a smart, small package. Analogue as in really analogue. Aside from the MIDI-to-CV circuit, which, by its very nature, must include a digital element, everything else is absolutely analogue. For Fusebox trades on real transistors and op-amps — no CPU (Central Processing Unit) stabilised and quantised circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other so-called analogue synthesizers. Since the circuitry is based on designs dating back to the mid- Seventies, Fusebox proudly possesses a truly vintage sound. The kind of sound that the likes of The Human League made their own and continue to trade on to this day during an analogue renaissance that’s still showing no signs of abating anytime soon.
So, as an aptly-named true analogue monophonic synthesizer, Fusebox wears its colours well. With three VCOs beating at its musical heart, here is a precision electronic musical instrument that combines must-have electronic circuitry to create a powerful synthesizer statement seriously housed in an eye-catching, compact box. But this is to be expected given its industry pedigree, perhaps. After all, Fusebox was designed by Analogue Solutions founder Tom Carpenter. As a fervent fan of electronic music and also an active electronic musician himself, he naturally knows a thing or two about programming synthesizers. So his latest and greatest creation clearly wasn’t the result of engineering design decisions alone — nor driven by a steering committee of men (or woman) in suits. So what’s inside this beautifully-built box of subtractive synthesis tricks, then?
Those three VCOs, for starters — sawtooth and square waveforms available to each and all. And all have CV (Control Voltage) inputs for PITCH and PWM (Pulse Width Modulation) alongside manual PW (Pulse Width) controls. Creatively speaking, though, there are some striking variations: VCO 1 has OCT (octave) and XMOD (cross modulation) FROM VCO2 switches; VCO 2 has a WIDE TUNE (range) switch — allowing a wide tuning range (right down into low frequency territory) — alongside an oscillator SYNC FROM VCO 1 switch; VCO 3 also has a WIDE TUNE switch, together with a MIDI PITCH switch control — can be disabled to make this a free-running oscillator, ideal for modulation. Meanwhile, VCO 2 and VCO 3 can both be pressed into service as LFOs (Low Frequency Oscillators) — as implied by their respective VCO / VCLFO ‘lettering’.
Leaving that OSCILLATORS section behind… well, almost, and moving, momentarily, into MIXING (with MUTE switches and additional audio inputs), here Fusebox features white NOISE and a SUB oscillator (taken from VCO 3). Thereafter, the all-important FILTERS section is centred around a 12dB MULTIMODE VCF (Voltage-Controlled Filter) featuring LP (Low Pass), HP (High Pass), BP (Band Pass), and NOTCH filters. Flexibility further abounds at the AMPLIFIER section with a VCA (Voltage-Controlled Amplifier) allowing for EG and THRU (bypass) switching; an advanced MODULATION section with a FADE IN (delay)-featured LFO; and an ENVELOPES section with two trigger option-friendly envelope generators (EG1 and EG2).
Elsewhere, the INTERVAL GENERATOR is a special type of pitch transposer that allows users to set six different pitches to each of the switches, then transpose the VCOs manually to create performances — perfect when used in conjunction with the ARPEGGIATOR and/or PATTERNATOR.
The ARPEGGIATOR allows an external MIDI keyboard to be used to program in the notes to be arpeggiated and will also transmit the notes to the Fusebox’s MIDI O (output). On top of that, the ARPEGGIATOR can also be used as a simple 16-step sequencer.
The PATTERNATOR is a unique type of sequencer/rhythm generator. Its four CV controls can be used to create melodic loops that can be changed in realtime using the RESET and SKIP switches. The eight-step gate/trigger pattern generator can be altered using the two BEAT knobs.
Needless to say, all Fusebox’s circuits have extensive minijack input and output sockets, so it can be cross-patched within itself to create an almost infinite range of sounds. Or it can be cross-patched with other synthesizers and modular systems for further flexibility. Fusebox is partially pre-patched in itself, but almost all of those patches can be cancelled using various switches and controls. Indeed, it has such a wide range of modulation routing possibilities that it is almost as versatile as a full modular system so can produce the same types of sounds — and all without patch cable clutter and confusion!
Complex or as simple as the end user wants it to be, as a monophonic analogue synthesizer, Fusebox can be used for analogue sound effects, fat basses, screaming leads, bleeps, blurps, zaps, and all manner of other crazy sounds associated with subtractive synthesis. Since Fusebox features an audio input socket, it is possible to feed external sounds through the onboard analogue filters for analogue processing purposes. It even has real ‘analogue’ hardwood sides — sustainably sourced, of course! Clearly, Fusebox is analogue — as in really analogue — through and through, then.
The UK price for Fusebox is £1,140.00 GBP (excluding VAT), available from UK dealers and Analogue Solutions directly. (Dealers will start seeing stock arrive as of October 2017: http://analoguesolutions.com/global-distribution/)
North American availability of Fusebox is being handled via Voltage & Company (http://www.vcousa.com) — full-service reps of high-quality manufacturers from around the world — with a retail price of $1,599.00 USD, while (most) EU distribution is being handled by Sonic Sales (http://www.sonic-sales.de) — one of the largest full-service MI (Musical Instrument) distribution companies in Europe — priced at €1,519.00 EUR (including VAT).
For more in-depth information, please visit the dedicated Fusebox webpage here: http://analoguesolutions.com/fusebox/

Review: iZotope Ozone 8 Advanced

By
Bryan
-


The Ozone mastering suite has been through many iterations. This version may be the most ambitious.
 
Ozone is the premiere mastering software, with a bundle of plugins that can even venture into mixing applications. Like Neutron 2 (review here), Ozone 8 comes in several versions to cater to different price points and applications for artists and engineers.
 
Ozone Imager:
Similar to Neutron’s Neutrino plugin, the Ozone Imager is a free stereo enhancing plugin. Imager is based off of the very imaging built into Ozone 8 and loaded into a single plugin. Ozone Imager can take narrow sounding tracks and mixes and instantly widen them, all while avoiding the many artifacts that come with widening the stereo field. Imager features an easy to use interface with helpful spectral graphs to show how the plugin is handling the audio. And remember, it’s FREE.
 
Ozone Elements:
The entry level solution to mastering. Elements features the new Master Assistant which helps create a starting point for masters, Maximizer, Imager, 1 EQ Module, I/O Section, Audition Panel, Undo History, and plenty of great presets.
 
Ozone Standard:
Features everything included in Elements plus Dynamics, EQ with additional Multi-Band Dynamics, an additional post EQ Module, additional IRC’s and improvements in the Maximizer, Exciter, Vintage Limiter, and new Track Referencing. Standard can also be used as a standalone application with third party plugin hosting.
 
Ozone Advanced:
Of course, everything listed in the previous versions plus Vintage Tape, Vintage Compressor, Vintage EQ, Spectral Shaper, Coded Preview, and Tonal Balance Control. On top of giving more modules, each one can be used as a standalone plugin.
 
Since Ozone 7 has already been reviewed (Review Here), this review will concentrate on the new features that are packed in Ozone 8 Advanced.
 
OZONE RECAP
At its core, Ozone is a modular mastering application capable of running as a plugin in a DAW or as its own program. Across the top section, different processing “Modules” appear as blocks that can be rearranged, added, or deleted to create an ideal mastering signal chain. Ozone 8 Advanced comes with 6 slots with a choice of 12 modules: EQ, Vintage EQ, Vintage Tape, Exciter, Vintage Compressor, Dynamics, Dynamic EQ, Spectral Shaper, Imager, Post EQ, Vintage Limiter, and Maximizer. On the right-hand side of the interface is the I/O section complete with many tools to further enhance mixing and mastering. The standalone version functions in the same way, but allows for stereo audio tracks to be added into the interface and individually processed. On top of offering every mastering type tool imaginable, the standalone version can incorporate non-iZotope VST plugins installed on the computer as well. This gives ultimate control of mastering all inside of one window.
 
WHAT’S NEW
If those features weren’t enough, Ozone Advanced have added a slew of new features to bolster the almost $200 price increase. The interface has definitely been overhauled with some settings being rearranged and may take a little getting used to. I do miss the “Smooth” and “Transparent” markers on the Character of the Maximizer but overall the interfaces look much more uniform.
 
MODULES
Spectral Shaper:
This is a new module and standalone plugin exclusive to Advanced. Spectral Shaper uses technology of the same name to tame frequencies in a track or even a full mix. By using the “Action Region” across the top, frequency regions can be selected, moved, and soloed to find the problem area. The area can be honed further by dragging the corners of the Action Region to widen or narrow the region. Once the area is located, a Threshold can set and further fine-tuned by using the “Listen” feature to hear when processing will occur. Three choices of Light, Medium or Heavy processing can be selected along with Attack, Release, and a Tone slider, which works similar to a tilt EQ to enhance the Timbre of the processing. Positive will increase the highs while negative emphasizes the lows. The Action Region can then be used to visually monitor dynamics control by clicking the Gain Trace icon on the left side of the “Action Region”. The tool works great to tame harsh areas in a mix and is very easy to use. I do however wish there was a key modifier to adjust both sides of the Action Region at the same time and a mix or intensity slider would help blend in a little of the original if needed.
 
Vintage Modules:
Vintage Tape has added a new 7.5 IPS settings that will bring in non-linear saturation to add a big, low end to tracks. In operation, the new module really rounds out a mix in a way that’s not too intrusive.
 
The Vintage Compressor also has improved ballistics and sound quality. To test this, I placed audio on a loop and A/B’ed Ozone 7 Vintage Compressor against Version 8’s on the same preset with the same settings. The difference in sound quality wasn’t leaps and bounds but the initial snap of the transients were a little more present and focused.
 
Maximizer:
The Maximizer has a few additions and enhancements to make setting the perfect levels a cinch. A new LL (Low Latency) IRC mode has been added along with improved IRC IV and Transient Modes. I will say, the difference in between 7 and 8 is fairly distinguishable in IRC IV with Ozone 8 preserving the integrity of the transient’s initial pop.
 
A Learn Threshold has been added in which a Target LUFS value can be set, and Ozone will adapt the threshold to meet the value determined as the Target. Although this feature is called a “Learn” feature, it does not shut off after determining the proper threshold. It continuously is changing the values to constantly meet the target’s perceived volume. While this added control is great to maintain a constant volume, it is not made to meet loudness compliance standards.
 
The Stereo Unlink section in Ozone 7’s Maximizer has been upgraded to a “Stereo Independence” section. In version 7, the Transient and Sustain controls were one slider. But sometimes, when limiting stereo channels independent of each other, a better result can be achieved at a louder output by allowing for independent control of the Transient and Sustain controls. When set to values above zero, these controls allow for the handling of transients and sustain separately, thus allowing for a less Narrow result when used more aggressively.
 
Exciter:
Version 8 brings new flexibility by adding a new Analog Exciter option to the module and allowing each band its own selection of different types of saturation. Version 7 only allowed for one type across the whole spectrum. This gives all new opportunities in adding retro to the low end while using tube on the high end for creative results that cannot be replicated in the hardware world.
NEW ADDITIONS
Master Assistant:
Similar to Neutron’s Track Assistant, Ozone 8 incorporates a Mastering Assistant whereby machine learning is used to determine an ideal starting point for your master. This can be incorporated in both plugin and standalone versions. The inner workflow for the Assistant is extremely advanced and conditional upon a vast array of facets, but we will try to simplify it to core concepts.
 
It must be stated that unlike Neutron, Ozone’s Master Assistant requires 30 seconds of audio instead of Neutrons 4 to 10 seconds. iZotope also suggest using the loudest portion of the track when analyzing. If the portion desired is less than 30 seconds, looping a section is ok. Also, the Master Assistant will only determine the settings for EQ, Dynamics, Dynamic EQ, and Maximizer so don’t expect it to make creative choices like if Vintage Tape or Exciter should be used. I think this falls under the “Think for Yourself” category.
 
In order to begin, click “Master Assistant” in the top menu bar next to the Preset menu. Initially, Master Assistant will display three options for a Target master: Streaming, CD, and Reference.
 
Streaming:
The Streaming option will optimize the Maximizer Threshold to ensure the loudness is matching -14 LUFS, which is the standard for most streaming services.
 
CD:
The CD option determines the Maximizer Threshold setting for the best output level for the selected Intensity. Just below the Target section is the Intensity. The choice between Low, Medium, and High lets the Maximizer know how often the Limiter will be triggered by incoming audio.
 
Reference:
The Reference setting is very helpful in that it can use a selected reference track inside of Ozone’s Track Referencing panel to create a custom EQ curve and Target Loudness. This does require that a reference track be loaded into Ozone 8 prior to starting Master Assistant.
 
Once the Target is selected, Ozone 8 takes over. After audio begins playback in the host, Master Assistant will analyze audio for around five seconds and generate a unique EQ curve. This EQ curve is derived from ten predetermined core genre classes. A percentage of similarity is assigned to each of the ten genres and a custom EQ curve is created. Say for instance, your track is determined to be 50% country, 30% Rock, 20% EDM, and 10% Orchestral. First, congratulate yourself for taking on such an innovative song Ozone 8 will generate a Target EQ curve that is a mix of each of these genres based on percentage. (Note: if “Reference” was chosen at the beginning, this is all thrown out the window and the Target EQ curve is based off of the curve of the reference track).
 
After the custom Target Curve is created, an ideal combination of a signal chain based off of the genre with the highest percentage will be assigned. These are used as a starting point based on genre and not specifically the incoming audio. What will be based off of the incoming audio is how each of these modules in the signal chain is adjusted, or not adjusted.
 
The EQ setting is adjusted first by being compared against the Target Curve and modified to match as closely to the target as possible. After EQ is set, Dynamics is next. What sets the Master Assistant apart from any other analysis based processor is how dynamics are treated. On top of the full spectrum, the low end is also analyzed based on the Target curve and dynamics are applied in order to help the Maximizer to work more transparently. This is measure in “Crest Factor” which is a measurement of peak amplitude divided by the RMS. This indicates how extreme the peaks are in the waveform and determines them to be either too compressed or too dynamic. The Compressor’s threshold values are learned based on the average of the track to ensure the dynamics are affecting the audio properly. After setting Dynamics, the Maximizer is set based on the settings chosen at the beginning of the master assistant with either Streaming, CD, or Reference. After the Maximizer is set, the Master Assistant will compare the input signal with the output and use Dynamic EQ to reduce possible distortion from the Maximizer’s settings. At this point, the Assistant will ask if the custom preset should be accepted. Clicking Accept will keep the custom preset and allow for additional adjustments. From here, more modules like Vintage Tape, EQ, or Exciter can be added.
 
I actually found Mastering Assistant to be an extremely useful tool for sparking inspiration in a way that didn’t feel necessarily “canned”. In most cases, Mastering Assistant created more of a push in the right direction and not the final setting. Although I’m sure with some practice and choosing the right section of audio, the Assistant could in fact do this. Creating a custom starting point based on a reference proved to be invaluable especially when time is of the essence. The Assistant came very close most of the time is relatively matching the overall EQ curve of a track and pointed me in the right direction. I can see this being incorporated in my work flow from now on.
 
Track Referencing:
References are an integral part for both beginners and professionals alike. For beginners, a reference can be used as a comparison point for balanced frequencies and dynamics. It can also teach how to listen and adjust the song based on a professionally mixed and mastered track. For professionals, this is a perfect tool for artists to convey a feel or sound they are trying to achieve. Most DAWs do not cater to this approach and workarounds come in the form of constantly soloing back and forth stereo tracks or bringing another plugin into the mix that cater specifically to referencing.
 
Ozone 8 has a very clever solution tucked in the I/O panel. By clicking the “Reference” button, a panel will appear where up to 10 reference tracks can be loaded. Ozone supports wav, aif, mp3, AAC, and FLAC files as references. References can be added by pressing the + button in the reference panel, with each reference appearing in its own tab in the panel. On top of adding each reference, Loop Segments of each song are automatically determined and broken into sections. This makes selecting a part of a track extremely easy instead of trying to match parts up. Each section can also be renamed for quick recall. Toggling between the selected references is accomplished by clicking the tab of the reference wanted and referencing is as easy as clicking the Power button next to the Reference button. This can be done either from the reference panel or the Ozone I/O section.
 
On top of making referencing tracks easier, Ozone 8 will overlay the frequency spectrum of the reference inside of the spectrum graph is any of the module views that incorporate the frequency spectrum graph. This gives instant feedback on mastering or mix choices when dealing with dynamics or EQ.
 
Because of the referencing panel alone, Ozone 8 has showed up in a permanent spot on my Mix Bus as well. This takes the mastering plugin and turns it into an invaluable resource for mixing as well. The interface was extremely intuitive and functional, making a once workflow interrupting necessity into a second nature function. One added perk that would be nice regarding referencing would be an auto level match of the reference tracks but this can still be addressed with the individual gain sliders in the referencing panel.
 
Tonal Balance Control
The final plugin available in Ozone 8 Advanced is probably one of the more audacious. Tonal Balance Control takes reference mixes to a whole new level. Tonal Balance Control is a plugin that addresses reference tracks in a fresh new way. The plugin is designed to be the very last plugin on the Mix Bus. The interface is based around a frequency spectrum graph divided into section: Low, Low-Mid, High-Mid, and High. As the track is played in the DAW, lines appear in each section of the graph. The blue sections in each band represent an ideal range within each band corresponding to a style of music. When the lines show up in the blue, the track is balanced similar to the “Target”. If the line is over the graph, the frequency content in the mix is more than the Target. Anything under the section represents too little. The Crest Factor display is a left to right graph that determines if the low end of your mix is either too dynamic (left) or too compressed (right). Three built in Targets can be initially used: Bass Heavy, Modern, and Orchestra. If these are too generic, custom Targets can be created by importing an audio file using the menu next to the Target. Tonal Balance Control will import the file, analyze it, and create a custom Target. If the multi-band (Broad) version doesn’t display enough, the interface can be more detailed by clicking “Fine” on the right side of the interface. This will display a continuous section with more information.
 
To make balancing the EQ easier, any Ozone 8 or Neutron 2 plugin’s EQ can be adjusted inside of the TBC window by selecting the plugin in the drop-down menu located in the bottom left. It must be noted that single plugins’ controls do not function inside of Tonal Balance Control, only the Ozone 8 and Neutron 2 master plugin work. They can however display the frequency spectrum under the TBC window for reference. With Neutron 2 and Ozone EQs, all controls are in the bottom window of TBC and adjustments can be made from one spot in a snap.
 
THOUGHTS:
Overall Ozone 8 Advanced easily warrants the upgrade or purchase for pretty much anyone. While versions before teetered on being worth the extra money, Version 8 is a no brainer. The sheer number of useful extras alone would easily be worth the $200 difference from Ozone Standard alone. These aren’t just filler plugins. Each bring their own strengths to the table. As for how they may be laid out in the interface, that may be a slightly different story.
 
I felt that while Tonal Balance control is a huge help when determining balance decisions, it should be incorporated into Ozone’s frequency spectrum window. While I’m no coder and could not begin to know the workings of these advanced plugins, I really would like to see a way to incorporate TBC internally because, why have to switch between multiple windows in the first place? Isn’t that the direction iZotope has gone as of late by offering plugins that can easily adjust other plugins’ settings from one window? Granted I will still use TBC religiously in my mixes and it doesn’t take away from the innovative nature of the plugin.
 
Other than that, I feel Ozone 8 continues to push the envelope of mastering solutions and accomplishes what only the best companies in the world can do: make a product with features we didn’t even know we needed. It still amazes me how useful each of the individual plugins are not only on mastering but on mixing alike. I truly think Ozone 8 and Neutron 2 are two of the most revolutionary plugins to hit the market in some time.
For more information and to purchase, visit https://www.izotope.com/en/products/master-and-deliver/ozone.html
Introductory sale has Elements at $99, Standard at $199 and Advanced at $399 (until Oct31, 2017)

Plugin Alliance Unfiltered Audio's Zip

By
Bryan
-
Unfiltered Audio is on a roll lately, releasing plugin after plugin that think way outside the box. I can’t wait to get my hands on Zip, their new dynamics tool that can go from compressor to full on effect.
SANTA CRUZ, CA, USA: Plugin Alliance, a new ‘Über-standard’ supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of Zip — further cementing Californian coding masterminds Unfiltered Audio’s Plugin Alliance partnership with a powerful, unconventional plugin that bravely breaks the compressor/expander mold to solve difficult dynamics challenges and create unique effects using ingenious Analysis modes and synth-like modulators — as of October 24…
As a truly trailblazing processor, Zip uses novel Analysis modes to easily remedy complex dynamics challenges that traditional compressors and expanders are inadequate to treat. Additionally, an abundant assemblage of modulators — freely patchable to most of Zip’s other controls — creates striking effects impossible to achieve using conventional dynamics processors.
Perfectly executed, Zip’s six Analysis modes — Amplitude, Quietness, Brightness, Darkness, Noisiness, and Tonalness — spark deeper compression or expansion based on signal level, frequency content, or noise feeding its Input. Indeed, Noisiness mode can, for example, be used to compress overdriven electric guitar chords while leaving cleaner-sounding phrases on the same track untouched. Darkness mode, meanwhile, makes Zip compress lower-pitched notes on a track more heavily than higher-pitched ones — excellent for taming headroom-robbing low notes on a bass guitar, while Brightness mode does the exact opposite — reining in high-pitched vocal choruses, for instance. Amplitude and Quietness modes respectively trigger processing with louder or softer input signals, while Tonalness mode reacts more strongly to signals containing stable frequencies. Taken together, Zip’s Analysis modes empower its sidechain detector to react selectively to a much broader range of variables than traditional dynamics processors are capable of, greatly improving its ability to tame the most challenging tracks. And when an external sidechain input is needed, Zip has that, too.
Zip’s four Envelope Styles — Classic, Goopy, Quick, and Extreme — modify the processor’s attack and release curves, tailoring them to the engineer’s specific needs. The Extreme style’s lightning-fast response is great for aggressive processing, such as crushing room mics for drums. The compressor’s Classic style and multimode sidechain filters can be used to enhance low-end punch and weight on mixes and masters. Goopy adds vintage glue to individual tracks and full mixes alike. All Envelope Styles can use Peak or RMS (Root Mean Square) detection, with or without Lookahead detection, along with manual settings for Attack and Release controls that further refine Zip’s response. Together, these controls give Zip an extremely wide range of flavors — all dialed in to perfection using the included wet/dry Mix control.
Creatively, it’s Unfiltered Audio’s flagship automatable modulation system that takes Zip into an entirely new realm for compressors and expanders. Its eight different internal modulators, as well as a patch to an external ROLI Lightpad controller, can be used — up to six modulators at once — on most of Zip’s controls. Each modulator can be routed to multiple destinations using simple drag-and-drop technique, unlocking a world of driving rhythmic effects synchronized to the tempo of the host DAW (Digital Audio Workstation). Routing the square wave LFO (Low Frequency Oscillator) to the expander’s Threshold control creates a pulsing gate, transforming a static synth pad into a dynamic staccato dance groove. Patching the sawtooth LFO to the compressor’s Ratio knob creates a big room EDM-style ducking effect synchronized to the song’s beat. Other internal modulators include sinewave LFO, Step Sequencer, Input Follower, Macro Control, Sample and Hold Noise, and a new Gain Reduction control that responds inversely to compression.
Zip shapes tone, too. Its continuously variable Color control provides post-dynamics processing in seven modes, respectively offering phase-modulated distortion, soft saturation, bitcrushing, and four 2-pole cutoff filters (two of which feature cutoffs modulated by Zip’s Analysis modes). Used without Zip’s modulators, the Color modes can be used to fatten up vocals, make drums pop and create dramatic swings in timbre on keyboard tracks with each note attack. When patched to Zip’s LFOs, the Color knob becomes a gateway to tempo-synched filter sweeps and pulsating distortion that make guitar and keyboard tracks come alive.
Whether using its inventive Analysis modes and versatile Envelope Styles to compress or expand tracks in new ways, or its state-of-the-art modulation system to create driving tempo-synched effects, Zip delivers a world of dynamics and tone shaping far beyond the ordinary. It’s a forgone conclusion. Calling Zip a compressor is like calling a Lamborghini a passenger car. It does neither one justice. Zip creates unique effects and solves thorny audio challenges in a flash, leaving traditional compressors in the dust! Dig it? GRAMMY® Award-nominated composer/producer/engineer Charles Stella sure does!
Zip is available for purchase — as an AAX AudioSuite, AAX Native-, AU-, VST2- and VST3-supporting plugin for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — exclusively from Plugin Alliance at an introductory promo price of $99.00 USD through to November 30, 2017, rising to $149.00 USD thereafter.
Fully-functional, 14-day trials are 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 Zip webpage here: https://www.plugin-alliance.com/en/products/unfiltered_audio_zip.html
Watch Plugin Alliance’s tantalizing trailer for Zip here: https://youtu.be/TwJ_YRU6Dw4

Propellerhead Offers Rack Extension Subscriptions

By
Bryan
-


Reason 10 comes with massive updates and with the 9.5 update to include VST plugins, now is the perfect time to buy this great DAW. On top of all of this, Reason Extensions are now available as a subscription service.

Propellerhead today released Rack Extension plugin subscriptions for Reason. In addition to Rack Extensions being sold separately, the new Rack Extension subscription offers a unique, flexible way to get the creative tools you need at a new low price. With hundreds of plugins to choose from, Rack Extensions subscriptions let Reason users curate their own personal set of plugins: find your perfect plan, mix and match instruments each month, and keep on making great music.
“With plans ranging from $9 to $29 a month, the Rack Extension subscription plan will let you pick the Rack Extensions for your musical needs, and update your selection every month as your musical demands change,” stated Filip Carvell, Business Development Manager. “Reason users can now get access to and choose from hundreds of new instruments and creative tools from the leading developers at a bargain price.”
Since its release in 2012, Propellerhead’s Rack Extension platform has emerged as a powerful audio plugin format, with over 100 active developers and more than 200 instruments and effects now available via the Propellerhead online store. Rack Extensions integrate seamlessly into the Reason rack, combining excellent sound, smooth workflows, and rock-solid stability with the intuitive routing, automation, deep editing, and flexibility that Reason users expect.
Once you’ve selected your Rack Extension plan, you have 30 days to enjoy your Rack Extension selection before you get access to new plugins.
To learn more about Rack Extension Subscriptions, visit www.propellerheads.se for further details.
Pricing and Availability
Rack Extensions are sold as standalone products or can be accessed via subscriptions from Propellerhead’s online store.
Rack Extension Monthly Subscription Pricing Tiers:
  • Standard Subscription Plan – 9 USD/EUR (Offers up to $400 worth of Rack Extensions)
  • Medium Subscription Plan – 19 USD/EUR (Offers up to $1000 worth of Rack Extensions)
  • Large Subscription Plan – 29 USD/EUR (Offers up to $3000 worth of Rack Extensions)
Visit www.propellerheads.se for further details.

Eventide Debuts Eurorack World with EuroDDL

By
Bryan
-
Eventide has really stepped up their game in all formats. Lately they have been releasing a slew of plugins partnering with great developers and now they are expanding to the Eurorack module.
LITTLE FERRY, NJ, USA: recording technology trailblazer Eventide is proud to release the EuroDDL — entering the ever-expanding Eurorack modular market with a 16HP digital delay (DDL) module made to sound less digital than the average delay while enabling external control of every feature and function — at AES New York 2017, October 18-20, Jacob J. Javits Convention Center, USA…
With the EuroDDL, Eventide’s old school design strictly limits the amount of digital circuitry to only what’s required for delay. Soft saturation clipping, LP (low pass) FILTER, FEEDBACK, insert loop, and +20 dB boost are all analog.
The digital section is minimal and constrained to do nothing more than simple, yet flexible, delay. The DDL itself is pristine. It’s long. It’s short (0.11msec resolution). It’s smooth, it loops, and it goes backwards (REVERSE). The delay converter is 24 bits with a maximum delay time of up to 10 seconds at 192 kHz sample rate and 160 seconds at 16 kHz sample rate. Delay time can be varied smoothly and over a wide range — either manually, via TAP (BPM) tempo, or by remote control voltage. Short delays can be used for comb filtering and flanging effects. Longer delays for echo effects. Infinite delays for looping. Backwards delays for reverse effects.
To be a true performance instrument, all the controls of the Eurorack module must be remote controllable. The EuroDDL does just that with jacks — clipping, KILL, REVERSE, FEEDBACK, MIX, and LP FILTER — to accept VC (voltage control) and T/G (trigger to gate). It’s designed to be played as an instrument… and it’s designed to ‘play nice’ in the rack with RETURN/SEND and CLK (clock) IN/OUT.
“There’s usually a modular this or that floating around at Eventide; we wanted to create a delay that can be played by musicians — musicians like our own resident experimental music artist Anthony Saunders,” says Eventide Director of Marketing Communications Nalia Sanchez. “Plus, we wanted it to sound, feel, and behave like an analog instrument by doing as much as possible with analog components. It adds cost, but makes a clear difference. There seems to be something that happens to sound when it’s operated on in quantized time. The EuroDDL module keeps whatever that ‘something’ is to a bare minimum.”
The EuroDDL design is derived from the Eventide DDL-500, the 500 Series delay module about which Tape Op’s Eli Crews wrote: “…it has a unique feel and sound, partly due to the fact that the only digital part of the audio path is the delay line itself.”
Eventide will be demonstrating the EuroDDL alongside award-winning plug-ins on Booth #321 at AES New York 2017 — the 143rd International Convention — on October 18-20, Jacob J. Javits Convention Center, USA.
Currently available in limited quantities, general availability of the EuroDDL is scheduled for January 2018 with an MSRP of $399.00 USD.
For more in-depth information, please visit the dedicated EuroDDL webpage here: https://www.eventideaudio.com/euroddl

D16 Releases Toraverb 2

By
Bryan
-


Short and sweet press releases are the best! Let the product speak for itself. D16 has released Toraverb 2.

We’d like to announce that Toraverb 2 / Space Modulated Reverb will be released on October 3rd, 2017. Toraverb 2 has been completely redesigned elevating it to entirely new heights. To read more about it please visit Toraverb 2 web page. Detailed overview will become available at the release day.

Starting from Toraverb 2 premiere (October 3rd, 2017) use the coupon at our online shop and buy Toraverb 2 for 39€ only instead of 69€ regular price. This is time limited offer and coupon expires after November 3rd, 2017.

Spitfire Audio Hans Zimmer Percussion Sample Library

By
Bryan
-


We all know Hans Zimmer and his countless soundtracks to movies. His menacing drums are a hallmark of his style in movies. Now you can use them courtesy of Spitfire Audio

HANS ZIMMER PERCUSSION is a perfect fit for Spitfire Audio’s established ethos of producing the finest virtual instruments from the finest musical samples in the world. Why? Well, with Hans Zimmer — one of the most successful, influential, and prolific film composers of his generation — generously giving not just his notable name to this authorised take on his trailblazing approach to cinematic percussion production but also overseeing every detail of its recreation using the same studio, musicians, instruments, signal chain, and talented engineering experience, innovation, and refinement — right down to personally mixing the resultant superlative-sounding sample-based virtual instrument’s C (close), R (room), and S (surround) HZ MIX perspectives, rest assured that this is the real deal!
Digging deeper, HANS ZIMMER PERCUSSION combines the output from two extraordinary recording blocks. Material from the first features four of Hans Zimmer’s go-to percussionists — Paul Clarvis, Stephen Henderson, Gary Kettel, and Frank Ricotti — performing on a variety of instruments in various styles in what is essentially a distillation of over a decade’s worth of musical experimentation and innovation, including the composer’s classic selection of drum ensembles and solo instruments: TAIKO ENSEMBLE, BOMBO ENSEMBLE, SURDO ENSEMBLE, LOW BOOM, LOW BOOM GALLERY, BASS DRUM GALLERY, GONG DRUM, DHOL ENSEMBLE, TOMBEK ENSEMBLE, BOOBAM, TAMTAM, METAL (Piattis, Anvils, Crusher), and TIMPANI. The remainder of HANS ZIMMER PERCUSSION makes much use of longterm Hans Zimmer collaborator and acclaimed percussionist Paul Clarvis (Spectre, The Dark Knight, Harry Potter, Star Wars) with played instruments including PAPER DJUN, DARBUKA, SNARE, and BUCKETS.
Bite, clarity, detail, and nuance are all brought to bear upon this epic-sounding sample library. However, Hans Zimmer is especially enamoured with the softer things in percussive life so HANS ZIMMER PERCUSSION puts whisper-quiet lower layers in the hands of its users by way of potential for delicate drum programming to help keep their cues ticking along — alongside the thunder that Hans Zimmer’s notable name conjures up musically for many, of course.
Clearly, HANS ZIMMER PERCUSSION is impeccably recorded at London’s legendary AIR Studios via an impressive signal chain: 96 rarefied microphones into Neve ‘Montserrat’ preamps into the world’s largest Neve 88R large-format console — which was exhaustively regained at every dynamic layer for optimum signal quality — via a dual chain to HDX and Prism convertors running at 192 kHz. In close collaboration with Hans Zimmer and his GRAMMY® Award-winning team of engineers, musicians, and technicians, Spitfire Audio recorded the drums and articulations each with up to nine round robins and six dynamic layers per hit with well over 30 TB of raw material from those superlative-sounding sessions alone!
Anyone looking to get started in epic drum composition needs look no further than HANS ZIMMER PERCUSSION. After all, Hans Zimmer has defined not only a compositional style, but also a production approach and sonic innovation that has influenced a generation of composers. Convincingly composing cinematic percussion parts like a Hollywood hotshot has become perfectly possible, thanks to this ultimate drum sample library from Spitfire Audio!
HANS ZIMMER PERCUSSION can be purchased and digitally downloaded (as 48.5 GB of uncompressed .WAV files, featuring 12,225 samples) for a time- limited introductory promo price of £259.00 GBP (inc. VAT)/$299.00 USD/€299.00 EUR (inc. VAT) until October 26, 2017 — rising thereafter to an MSRP of £349.00 GBP (inc. VAT)/$399.00 USD/€399.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/hans-zimmer-percussion/
Note that HANS ZIMMER PERCUSSION needs Native Instruments’ free KONTAKT PLAYER (5.6.8) — included in the purchase — to run as a fully NKSTM (NATIVE KONTROL STANDARD) supporting plug-in instrument for Mac (OS X 10.10, 10.11 or macOS 10.12 — latest update) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.
For more in-depth information, including several superb-sounding audio demos, please visit the dedicated HANS ZIMMER PERCUSSION webpage here: https://www.spitfireaudio.com/shop/a-z/hans-zimmer-percussion/
Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ HANS ZIMMER PERCUSSION video walkthrough here: https://youtu.be/zaXhe-v8xL4

IK Multimedia Releases iRig Pre HD

By
Bryan
-


IK Multimedia was one of the first in plugins and the first in mobile recording. They understood that smartphones and tablets are the next medium for recording. The iRig pre was one of the firsts and now it’s available worldwide.

October 19, 2017 – IK Multimedia is proud to announce that iRig Pre HD is now available worldwide. The new iRig Pre HD is a high-definition, ultra-compact digital interface for microphones with an onboard Class A studio-quality preamplifier designed to deliver top notch audio performance with iPhone®, iPad®, Mac® and PC. It offers the ability to record anytime and anywhere using any kind of professional microphone with a XLR connector, including gain-hungry models and those requiring phantom power. Featuring an integrated 1/8″ headphone output for real-time direct audio monitoring, high-quality internal converters, LED indicators and a suite of professional audio apps, iRig Pre HD is the most comprehensive, portable digital microphone interface for professional applications on the market.
A versatile performer, in the studio and on the go
Equally at home in the studio or in the field, iRig Pre HD is a versatile performer in virtually every professional context. Musicians, singers, journalists, podcasters, YouTubers, videographers and field sound recordists now have a powerful, elegant and ultra-compact tool allowing them to seamlessly integrate their favorite XLR microphones into their traveling setups. iRig Pre HD makes it incredibly easy to achieve superior sounding recordings anywhere and anytime by plugging in dynamic, condenser or ribbon microphones and recording directly on a device with astounding quality.
Class A preamplifier, 48V phantom power and high-quality AD/DA converters
iRig Pre HD features an integrated, high quality Class A microphone preamplifier with full-flat frequency response from 20Hz to 20kHz (+/- 1.5dB) for faithful, crystal-clear recording of the sound sources being captured by the microphone, for acoustic instruments, spoken word, field sounds and more. Thanks to its high performance A/D converters, iRig Pre HD lets users record or monitor any sound with a resolution up to 24-bit/96kHz, for a true audiophile experience. Moreover, using the iRig Pre HD with the included AA batteries allows users to engage the +48V phantom power necessary to drive their favorite condenser microphones.
Integrated headphone output
iRig Pre HD features an onboard headphone output with dedicated volume control. In addition, the 1/8″ headphone out can be used as an auxiliary output to send out recorded sound to external devices like an amplifier, PA, or a mixer. Alternatively, it can simply be used to drive a set of quality headphones to enjoy high-resolution digital music on every device (even the latest iPhone), taking advantage of the pristine quality and full dynamics of the internal D/A converters.
Direct monitoring
The direct monitor switch allows listening to the sound being recorded in real time. This means users can easily monitor themselves while recording a vocal take or listen to an interview guest in a noisy environment with no latency. With a simple flick of the switch, users can change to regular monitoring and check the playback or listen to other audio files.
Accessories
iRig Pre HD comes complete with a Lightning cable and USB cable for immediate connection to an iPhone, iPad, Mac or PC; 2 AA batteries and a velcro strip for securing it to a mic stand or other supports while in use.
Professional software and apps
iRig Pre HD includes IK’s renowned Mic Room, the creative application for Mac/PC and iOS app that lets users record with the same character and sound modeled from some of the greatest microphones ever manufactured. iPad and iPhone users will also enjoy the included versions of the Mic Pack for VocaLive, that adds a collection of virtual microphone models to the real-time vocal effects processing and multitrack recorder app and the Pro Bundle for iRig Recorder, which adds essential processing like equalization and compression to the pro-audio recording and editing app with video.
Made in Italy
As is the case with the vast majority of IK Multimedia’s products, iRig Pre HD is “Made in Italy” in its fully owned state-of-the-art manufacturing facility that combines the highest quality processes together with a focus on world class craftsmanship. This goes together with IK’s social responsibility standards and eco-friendly programs, such as reducing power consumption by utilizing roof mounted solar panels to generate electricity.

Pricing and availability
iRig Pre HD is available from the IK Multimedia online store and from IK authorized dealers worldwide for only $/€99.99*
* All prices excluding taxes
For more information, please visit:
www.irigpre.com/hd
For video demos of iRig Pre HD, please visit:
www.irigpre.com/hd/video

Avid Updates Pro Tools HD12 with VR, 360, Workflow Tools

By
Bryan
-

Pro Tools continues their push to be the most innovative DAW by incorporating new VR and 360 tools to process audio for Facebook 360 and other platforms. They’ve also added a few features for MIDI functionality.

AES (Booth #503) NEW YORK, Oct. 18, 2017 – 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 Pro Tools® that empowers users to take on virtual reality (VR) projects with Facebook 360 Spatial Workstation. Debuting at AES New York 2017, the new version includes updates to the integrated Dolby Atmos® workflows and is more powerful than ever for users at all levels, giving Pro Tools | First, Pro Tools, and Pro Tools | HD users new features and improvements that accelerate workflows and expand their creative toolsets.
Audio professionals working on virtual reality projects can now produce immersive, full-sphere, surround sound content from start to finish in Pro Tools | HD. Users can easily edit and mix audio in a 3D space with support for first-, second- and third-order Ambisonics formats across Pro Tools | HD tracks and busses, and then output and deliver to the required formats for playback. Pro Tools | HD also includes Facebook 360 Spatial Workstation for enhanced VR functionality. Also included in this version of Pro Tools | HD are enhancements to the Dolby Atmos® workflows enabling users to quickly and easily mix and deliver immersive experiences for theaters and homes.
Musicians and composers using Pro Tools can now create faster with enhanced MIDI functionality, work smarter with MIDI input display, and quickly find tracks with the new Scroll to Track feature. A new batch rename feature enables both post professionals and music creators to quickly rename groups of clips or tracks instantly.
Aspiring musicians and aspiring professionals using Pro Tools | First, the free version of Pro Tools, gain the same MIDI enhancements as Pro Tools users. In addition, they can now turn session documents from earlier Pro Tools versions into Projects that are ready for cloud backup and collaboration.
“As part of our commitment to providing our preeminent client and user community with the most comprehensive tools and workflow solutions, we deliver a continual stream of innovation with every new version of Pro Tools—and this latest release is no exception,” said Rob D’Amico, Director, Pro Audio Market Solutions at Avid. “This latest version of Pro Tools is packed with features and improvements for everyone. From MIDI enhancements that accelerate music workflows, and VR capabilities for post professionals, to new collaborative capabilities for aspiring pros, this latest version delivers tangible value for users of all backgrounds.”

 
Availability
Pro Tools 12.8.2 is available now. For more information, visit http://www.avid.com/pro-tools.

Dangerous Music "CONVERT-AD+" Analog-to-Digital Converter

By
Bryan
-
Conversion has been a part of Dangerous Music’s products since their advent, but up until now, they haven’t featured a dedicated unit. Convert-AD+ has arrived.
New York, NY – AES – October 18, 2017 – At the New York AES show, Dangerous Music today premiered the CONVERT-AD+ A to D converter. Building on their legacy of award-winning monitoring and mastering D to A converters, the CONVERT-AD+ is the culmination of the company’s technical advances over the past 15 years, as always, addressing both the sonic demands, practical needs of professional audio engineers and to put the soul back into music. The design and implementation of this unique converter realize the highest levels of quality and embrace the company’s credo, Sacrifice Nothing. The CONVERT-AD+ is set for release in November 2017, with a street price of $2,599. US.
“It has always been our plan to create a complete round-trip system for tracking, mixing and mastering,” says Bob Muller, founder of Dangerous Music. “To reach that goal I asked our design team to develop a very special A to D converter to capture a performance at the tracking level, the essence of a mix, and the final master in the spirit of all our gear – sacrifice nothing to price-point and make the best sounding and most authentic A to D we have ever heard. I also wanted to shake up the existing A/D paradigm and give AD+ a creative edge – a flexible, switchable sonic tool that sounds cool and is as relevant on a vocal track as it is on a master. This is Chris Muth’s specialty, and in my opinion he wrecked shop.”
After beta testing the new AD+, engineer Chris Godbey, Timbaland’s right-hand man since 2008 stated, “I need to do far fewer tricks in the mix to smooth out high frequencies, and the low end is fantastic. This thing is remarkable. I need to be on the list to get one of my own as soon as possible”
Premier Los Angeles mastering engineer Mike Wells gave his reaction after working with the new CONVERT-AD+, “My immediate impressions of this box? Pristine excellence. Pure musicality. Unique features that smote other A-D converters.”
Grammy nominated producer, music director, and bassist, André “Dre” Bowman, praised the new AD +, “Shout out to the Dangerous team-you guys really created something special. This thing sounds amazing- I can hear where everything is supposed to sit, and the features on it are incredible.”
The new CONVERT-AD+ offers 5 unique innovations in the world of stereo A/D: 
1.) Dual stereo analog inputs with front panel selection.
2.) “Clip Guard” for removing clipping indication at your destination meters resulting in no rejections for CD Masters, Mastered for iTunes, and Spotify.
3.) Meter Zooming technology to see the top 10dB of dynamic activity for a fine-resolution look at the zone that matters most when mixing and mastering.
4.) X-FORMER insert button engages some of Chris Muth’s sonic wizardry via a pair of custom- implemented HAMMOND(tm) transformers.
5.) EMPHASIS adds a custom shelving EQ/Compressor circuit to induce 2nd order harmonic distortion to blend in a bit of mid-warmth and sparkle.
Technical overview CONVERT-AD+
• Dual Stereo Analog inputs with front panel toggle selection
• 44.1 to 192K sample rate selection with Lock indicator
• Selectable Calibration for -14, -16, and -18 dBFS
• Unique “Clip Guard” for removing clipping indication from digital prints for CD Masters, Mastered for iTunes, Spotify
• Extensive Metering control with 10dB Zoom Mode, Peak Over Average, Peak Hold, Over indicators, and more
• X-FORMER integrates a pair of customized HAMMOND transformers
• EMPHASIS shelving EQ/Compressor induces 2nd order harmonic distortion with engaged transformers
• Word Clock: Internal, External or Master settings
• Dual Stereo AES outputs
• ADAT, SPDIF Optical, and SPDIF coax RCA outputs
• Word Clock In/Out
• USB connection for Mac or Windows
• 3-Pin IEC auto-switching AC Power, 120V (US), 240V (Europe)
The new Dangerous CONVERT-AD+ (…pronounced KHAN-vert – AD Plus) is expected to be available through dealers worldwide in November 2017; the street price is $2,599. US.
Digital-to-analog conversion has been an integral part of the Dangerous Music legacy since 2002, when the Dangerous MONITOR(r) set the standard for mastering engineers worldwide. Since then the company’s D/As have been utilized in its products like the D-BOX, DAC-ST, SOURCE, and culminating in the CONVERT-2 and CONVERT-8 next generation reference D to A converters. With this legacy firmly established, the company sought to craft the ultimate Analog-to-Digital (A/D) converter. Painstakingly designed without compromise, adhering only to the core philosophies of “transparent, yet musical” that have come to define the Dangerous Music sound, the CONVERT-AD+ is profoundly detailed, to capture the users’ sound with an unrestricted, potent low-end, and an un-hyped clarity that holds true from the midrange through the open top end.
Visit the CONVERT-AD+ product webpage: http://dangerousmusic.com/product/convert-ad-plus
1...293031...116Page 30 of 116

Most Recent Reviews