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Presonus Release StudioLive Series III Rack Mixers

By
Bryan
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Serving as a companion to the Studiolive Console, these rack mixers can be used for a myriad of live and studio applications. These rackmount mixers pack either a Studio Live 32R or 24R into a 2U rack space, thus saving immense space.

Baton Rouge, Louisiana—September 2017… The perfect partners for StudioLive® Series III console/recorders, StudioLive Series III rack mixers can serve as simple AVB stage boxes, combination stage boxes and monitor mixers, or powerful standalone mixers. The result of ten years of R&D, the third-generation StudioLive 32R and StudioLive 24R fit in just two rackspaces (2U), while the StudioLive 16R squeezes into one rackspace (1U). All three models are fully recallable, including remote-controlled XMAX preamps. Yet despite their extensive features, these Series III rack mixers are easy to use and let you customize their workflow and operations in software to fit the way you work.
Since StudioLive Series III rack mixers and consoles can network using AVB, you can connect a StudioLive Series III rack mixer to a Series III front-of-house console with one lightweight CAT5e or CAT6 Ethernet cable, eliminating the need for a heavy, expensive copper snake. You can even remote control a Series III rack mixer’s preamps and phantom power from your networked Series III console. In stage box + monitor mixer mode, the new rack mixers not only serve as excellent networked stage boxes but as full blown mixers, with far more processing and mixing power than any mixer in their class.
StudioLive Series III rack mixers deliver true studio quality sound with a plug-in-style workflow that features vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. These offerings were meticulously created in-house with state space modeling circuit emulation technology to match the sounds of real analog outboard gear.
Scenes can also be extensively customized, including a Scene Safe feature that prevents a scene change from altering the settings on designated “safe” channels. Similarly, Fat Channel presets have, for practical purposes, become like scenes for individual channels, not only saving input and Fat Channel settings but also aux send and bus assignments. Of course you can also use preset filters to choose what you want to recall.
The two larger models each have 26 mix buses, including 16 FlexMixes, 4 dedicated subgroups, 4 internal effects buses/processors, and the stereo main mix bus. The StudioLive 16R has 6 FlexMixes, 2 effects buses, and the stereo main bus for a total of 10 mix buses. The StudioLive 32R and 24R have 24 Filter DCAs for easily controlling groups of channels; the smaller rack mixer offers 8 Filter DCAs.
An AVB Ethernet connection enables you to network compatible computers and stream up to 55 (StudioLive 32R and 24R) or 32 (StudioLive 16R) channels of audio to and from a Mac® or Windows® PC. You also get 40×40 (StudioLive 32R and 24R) or 18×18 (StudioLive 16R) recording via USB 2.0, giving you a choice of computer recording methods. To top it off, with any Series III rack mixer, you can capture the main L/R mix directly to an onboard SD Card recorder—no computer needed. A separate 1 Gb Ethernet port can connect to a wireless router or directly to a computer for remote control of all features via a wired or wireless connection.
PreSonus® StudioLive Series III rack mixers are tightly integrated with an entire suite of state-of-the-art software. Mix wirelessly or over a wired network from anywhere using free UC Surface touch-control software for Mac, Windows, Android™ tablet, and iPad®. Completely automate virtual soundchecks and record shows with Capture™ for Mac and Windows (included)—or record with PreSonus’ easy-to-use Studio One® Artist DAW (included) or with any software that supports ASIO or Core Audio. Musicians can control their monitor mixes onstage with free QMix®-UC for iPhone®, iPod® touch, and Android devices.
With Studio One Artist, you can remote control any StudioLive Series III rack mixer’s recallable XMAX preamps and Fat Channel processing for low-latency recording with effects. To further enhance your productions, you also get the Studio Magic Plug-in Suite for Mac and Windows, which includes seven popular plug-ins in VST, AU, and AAX formats.
All three StudioLive Series III rack mixers are expected to be available in October 2017, with U.S. MAP prices of: StudioLive 32R $1,399.95 ; StudioLive 24R $1,099.95; and StudioLive 16R $799.95. For more information please visit www.presonus.com/products/StudioLive-Series-III-Rack-Mixers.

Umlaut Audio MOTORS Rhythmic Virtual Instrument

By
Bryan
-

Virtual Instrument creator, Umlaut Audio has created Motors, a Rhythmic VI that combines loops to give tracks unique rhythm.

Los Angeles, CA, September 19, 2017 – Umlaut Audio is delighted to announce MOTORS, the fourth in its virtual instrument range following PADS, ARPS, and uBEAT which has been acclaimed by film and game composers worldwide. MOTORS is a dual-layered virtual instrument exclusively crafted to create tonal and rhythmic pulses and provides further exciting creative options using rhythmic variations with organic and minimal source loops.
Designed for Native Instruments’ KONTAKT software, it offers over one hundred forty presets plus a variety of features enabling the creation of rhythmic motifs with an almost limitless range of variations and powerful combinations. These are made possible by unique features such as the Loop Legato mode that can switch between variations on the fly with the help of Key Switches and Layer Offset Controls which provide in-depth possibilities with individual layer controls.

“Impressive! This is an instrument that is clearly designed to help you craft creative sounding breaks and backgrounds in record time. MOTORS hits the perfect mix of ‘out of the box’ playability and ‘deep down the rabbit hole’ tweaking options”, said Matt Vanacoro from AskAudio. “Film, media, and gaming composers everywhere are going to absolutely love this instrument”.

Featuring minimal, organic and pulsating sounds, the dual-layered pulse engine offers simultaneous playback of two sound layers, each with its own set of editing options and a global crossfade. There’s also a dedicated page for assigning and tweaking modulation parameters for various controls within the instrument. Each Layer has its own set of seven insert effects, and an additional Global Effects Section, along with Sends and Insert FX to add a new dimension. An extensive array of modulation options via Envelopes, LFOs, and Step Sequencers complete the package, easily transforming the source sounds to add intensity and excitement to your composition.
Inspired by the intuitive workflow of Umlaut’s highly successful PADS instrument, MOTORS pushes the boundaries one step further by allowing a similar workflow to be applied to loop sounds. For those who already own PADS, the new instrument will feel comfortably familiar with many features and options being shared between the two. MOTORS has been designed to be incredibly intuitive and minimal, allowing users to go straight for the sounds they’re looking for and create thrilling pulses for any scores.
MOTORS
Innovate with Rhythmic Variation
A dual-layered virtual instrument exclusively crafted to create tonal and rhythmic pulses. (Plugin for Kontakt Software)
Now Available for Digital Download at https://www.umlautaudio.com/shop/engines/motors
Price: $99

Matthew Lane DrMS Version 5

By
Bryan
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Spatial Processing is a trick used by many professionals to add additional flavor to specific tracks in a mix or to EQ the middle vs the side. Matthew Lane and Plugivery have released Version 5 of DrMs.

Mathew Lane and Plugivery are proud to announce the release of Version 5 of DrMs. It is the latest version of a unique spatial processor, which has a wide range of applications for mixing, mastering and post production.
This plug-in is based on Mathew Lane’s extensive mastering experience where Mid/Side processing was used extensively to create new possibilities to enhance the final product. DrMs extends one’s comprehension of what’s possible with M/S processing beyond the typical tracking and mastering uses. It is aimed at offering the mixer, beat creator, sound designer, and general sonic-manipulator a totally unique effects device.
The DrMS plug-in is based on Mid/Side processing, a powerful way of manipulating stereo signals that grew out of a recording technique patented by Alan Blumlein in the 1930s. DrMs is perhaps the most complex and versatile M/S processing tool on the market.
The plug-in has controls for the Mid, Side, Field, and Focus elements of each adjustable frequency range and contains the following features: level, solo, mute, variable HPF, variable LPF, delay, and polarity reverse. By manipulating the phase, delay and EQ of each of these sections, you have total creative control of the stereo image
Tightening the low end by absolutely centering the bass frequencies or spreading the pad wash to the left/right extremities will give you the same control that mastering engineers have exploited for years to give that special ‘magic’ that is not available with any other tool. And now with the arrival of the new Version 5, DrMS has even more creativity possibilities to offer.
New in DrMS Version 5 :

  • Native AAX, AU, VST, VST3 – 32 & 64 bit plug-in for OSX & Windows (RTAS support available via older DrMS v4 using same iLok license).

  • The new underlying framework ensures compatibility with the latest OS and DAW versions, now and in the future.

  • Spatial audio processing – Zoom in, add Depth, change Width and more.

  • Striking fresh new GUI with central phase scope and manual entering of parameter values.

  • Mastering grade filters.

  • Resonant HPF, LPF and Delay on each of the four processing sections.

  • Feedback circuit for reverb creation and special effects.

  • Full mono compatibility.

  • Built in preset management system – exchange presets between hosts and platforms.

  • Presets to help you get started – real world presets designed by Dylan ‘3D’ Dresdow (Black Eyed Peas, Michael Jackson, Prince) and Emre Ramazanoglu (Shakira, Duffy, Alexander McQueen).

  • Autogain circuit for easy level matched A/B comparision.

  • Using iLok2 (or higher) USB dongle for easy authorisation.

 
Pricing and Availability
Version 5 is a FREE upgrade, available to all registered customers of DrMS.
MSRP Price: USD $149.00
Introductory Price: USD $99 (ends September 30th)
DrMS v5 is available from the Mathew Lane website and from Plugivery Distribution’s authorised resellers :
http://www.mathewlane.com/DrMS.html

Review: Kush Audio Clariphonic MS

By
Bryan
-


We’ve seen the Clariphonic grow in a unique hardware / software evolution, whereby the hardware inspires the creation of a plugin and the software pushes the envelope to consider new features for the hardware. Which is where we end up in this review. Now Kush has completed the circle (and then some) by updating the analog hardware to include a new feature previously only found in the Clariphonic MkII plugin: Mid/Side processing.
 
OVERVIEW:
For the few of you who may not know about the Clariphonic, here is a brief overview. This piece of hardware is a stereo parallel high shelving EQ that essentially has 3 channels of audio routed through it: your original source material untouched, and two more channels (or engines) that contain different EQ circuits. The Engines are divided into two sections (Focus Engine and Clarity Engine) and adjustments can be made to either or both of these two engines and all summed back in with your source audio to the output. No crazy bussing has to be done on your part. It’s all handled internally. The Focus Engine deals with audio starting at 800Hz and ending around 14kHz, the Clarity Engine picks up at 4kHz and ends somewhere past 34kHz. Each engine is controlled with switches and a knob, all of which are labeled in descriptions, not numbers. This is indicative of Kush gear given creator Gregory Scott’s mantra of “let your ears do this mixing, not the eyes”. Since this is a stereo unit, the left and the right independently have their own sets of engines. Operation is pretty simple from there, turn the switches to the description that most suits your wants for the track and turn the knob until you hear the right amount.
 
DIFFERENCES:
Up until recently, we had the hardware version and the software version. The hardware and software were pretty much exact, containing the same engines and controls, with the only difference being that the plugin version had Mid / Side capability. In past episodes of UBK Happy Funtime Hour, Gregory Scott admittedly mentioned that he did not often employ Mid / Side techniques in his own day to day mixing and added the feature to the Clariphonic by request. But once added, he saw its worth and felt the hardware could benefit from this approach. Therefore, the hardware unit in today’s review was created, complete with Mid / Side and another equally useful trick – a cut knob to the focus engine. This did however come with a price: the Tight and Diffuse bands were removed from the Focus Engine to make space for the boost and cut toggle switch. So, if you own the MkI hardware unit and love the Tight or Diffuse settings, you may want to hang onto the MkI or use the plugin (more on that later). With the differences out of the way, we can delve into the new model and see just what warranted a new piece of gear to be created and if you’ll want to buy it.
 
MID / SIDE
Let’s start with Mid / Side. For those newer to the game, Mid / Side is a technique that takes a stereo signal and instead of employing a left and right side, audio is dealt with by separating the audio in the center of the stereo field (mid) from the audio on the left and right (sides). This separation allows the edges of your stereo signal to be impacted separately from the center. Using this feature, a stereo track can appear to sound even wider when high frequencies are boosted just on the sides and density can be added by compressing the middle differently than the sides. The Clariphonic MS was completely reconstructed with a very complicated signal routing matrix to accomplish Mid / Side capabilities. What sets this apart from the herd is that inserts have been added to the back that allow other gear to be respectively patched into the mid or side, thereby giving preamps, compressors, and other pieces of hardware the very same mid / side capabilities. This gives way to endless creative options. Different combinations of hardware preamps, EQs, saturation, and compression can be used across the mid and side inserts. For instance, a Neve preamp can be driven into a Tweaker on the mid insert with the Open engine boosted for some extra dirt and presence and sides can be sweetened with a boost of the Shimmer to bring some spread to the mix. The world is your oyster. You won’t look at the gear in your current rack the same again.
 
CUTS LIKE A KNIFE
Up until the MS model of the Clariphonic, the only option was to boost filters, which in itself was more than enough; but there is something about a wide cut combined with a nearby boost that sweetens the impact of the boost even more (think Pultec EQ). Given the complex nature of all of the different routing and summing stages, this feat proved extremely difficult to accomplish but after quite some time of wrestling with the concept, the cut knob was forged. Flipping the Boost knob to Cut inverts the knob for the focus engine, allowing for harsh mixes to get the tape treatment, by softening the selected Lift of Focus band. Employing this with Mid / Side pushes the limits of this piece of gear to astronomical proportions. By actually cutting the Focus engine, the Clarity engine can shine and shimmer even more.
 
IN OPERATION
Seeing as like most of you reading, I’m more familiar with the plugin version, I had quite the eye-opening experience with the Clariphonic MS. Having the two side by side, I was able to compare the same settings on both to hear how each version handled audio. Even though they both essentially accomplished the same feat, the outcome on both were distinctly different. The hardware felt more dimensional, like the boosts were moving both upwards and outwards from the speakers. This is not to say the plugin version is worse – just different. This is often said of professionals who own both software and hardware versions of gear but until having both in my hands, I didn’t quite understand. There is a sweetness and slight forgiveness to heavier boosts and cuts with the hardware.
 
The Cut feature is a hugely welcome bonus to this already great piece of gear. I found myself using one of the left and right channels in combination with my Omega Preamp and Electra EQ especially on acoustic tracks to first establish lows with the Electra, cut the Focus engine and boost the silk. This combination can easily rival any Pultec setting. Also, using the cut on Electric guitar busses helped tame the harshness that comes with biting overdrive. There pretty much isn’t a track that won’t benefit from the Clariphonic’s pristine boosts, but boosting does come with a warning. Out of the gate, the “expensive” sound that is achieved by boosting top frequencies can be addictive but a night’s sleep and reopening the session can be the best gauge when learning balance with the Clariphonic. Usually it is best to boost in small amounts and even dial back slightly once you feel the perfect boost or cut is achieved. Other than over-boosting at first and losing the Tight and Diffuse settings from the Focus engine, The Clariphonic M/S clearly warrants upgrading from the MkI or initially purchasing. I pretty much ran every piece of hardware I own through the Clariphonic MS. My favorite by far is a Universal Audio LA610 and boost in Open in the Mid and an Omega / Electra on this sides with slight boost of Shimmer and a cut of Open.  With the Clariphonic MS, having the Mid / Side mode inserts give the ease of routing plugins in a DAW to the real world and really deserves consideration even if just based on that function alone. Leave it to UBK to take a piece of gear, create a plugin out of it, upgrade the plugin, then go back and upgrade the hardware. Now if I can just get the cut knob on the plugin, we can keep this cycle going.
 
For more information on the Clariphonic MS, visit http://www.TheHouseofKush.com
 
For Gregory Scott and Nathan Daniel’s Podcast “UBK Happy Funtime”, visit http://www.UBKHappyFuntimeHour.com

Lauten Mics Used Extensively on Foo Fighters Latest Album

By
Bryan
-


Recently, Lauten has been featured heavily in use on the new Foo Fighters. I only mention this because if it’s good enough for the Foo’s, then it’s good enough for any of us. Some of the mics used were even from their Series Black line of more budget friendly but still professional grade microphones. Also featured was the Laten Eden which we reviewed not too long ago where we used the Eden on 90% of the tracks on a song.
We were blown away by the quality and versatility of the Eden and were not surprised to find out it was used by the great Darrell Thorp.

San Jose, CA – Sept 19, 2017 – Engineer Darrell Thorp recently recorded the Foo Fighters new album at EastWest Studios in Los Angeles and chose to use loads of Lauten Audio microphones, including the Atlantis, Eden, Clarion, and the new Series Black LA-120, LA-220, and LA-320. The new Foo Fighters album “Concrete and Gold” (Roswell Records/RCA Records) was released on September 15, its first single, “Run,” hit the top 10 on the Rock Airplay Billboard charts in June. “We had a massive setup for recording the band,” says Thorp, “part of the challenge was we had 4 drum kits set up at once, a bass station, vocals, keys with 2 keyboards and pianos, and over 20 guitar amps, some in the live room and some in Iso-booths – I was using a lot of Lauten Audio mics.”
Discussing how and where some of the different mics were used, he explains, “For a sonic clarity difference I was having all the background vocals recorded on the Lauten Audio Eden mic, it’s a bit of a sweeter sounding mic, and I was using the ‘Forward’ switch so they would always sound breathy, and open and airy, around the lead vocal.”
“On the song ‘Happy Ever After’ which is the quietist, most acoustic track on the record, Dave Grohl was playing this Harmony solid body acoustic guitar, which is super quiet, but it has a ‘sound’ – so I grabbed a Lauten Audio Atlantis mic and switched on the +10 dB gain switch – which is genius!” exclaims Thorp. “I was barely rocking my mic pre, so I had plenty of level to Pro Tools and I was able to get a really good guitar sound. I was also using the Atlantis and LA-320 on guitar amps a lot, sometimes the LA-320 was on room guitar amps as well at about 15 to 20 feet from where the amps would sit in Studio One at EastWest – the room is huge and sounds amazing.”
The Series Black LA-220 mics were used for some of the main tom mics says Thorp, “They were amazing, they worked so well. I used the LA-220s on the Gretsch ‘George Lake’ kit with a 13-inch rack tom and a 16-inch floor tom.”
Thorp concludes, “I really do stand behind the Lauten Audio mics, I use the products a lot! I’m not just a face on an ad and a face on the website. We just did a Foo Fighters BBC Live session and I took an Eden for a mono overhead on the drums, which sounded great. I use the mics all the time when recording!”
Darrell Thorp is a seven-time Grammy® Award winning producer, mixer, and engineer (Foo Fighters, Radiohead, Switchfoot, Molotov, Beck), with over 20 years experience and many multi-platinum records on his discography. Thorp moved to Los Angles in 1997 after a 4-year service in the U.S. Navy and started interning at smaller studios, and eventually worked his way up to an Assistant Engineer at some of L.A.’s prestigious studios such as Track Record, Conway, and finally Ocean Way Recording. He recently had the pleasure of recording and mixing the new Foo Fighters album “Concrete and Gold,” and also engineering the new Beck record “Colors”.

About Lauten Audio
Lauten Audio microphones continue to carve out a unique niche for recordists seeking microphones with an original sound. In addition to the Series Black, their product line includes their flagship “Eden” LT-386, the award-winning “Oceanus” LT-381 transformer-less tube condenser microphone, and the FC-387 “Atlantis” solid-state Multi-voicing(tm) large diaphragm condenser microphone. Lauten Audio microphones have received rave reviews from both experienced recording engineers and leading Pro Audio magazines around the world. Lauten Audio is located in San Jose California, for more information visit http://www.lautenaudio.com or call 1-877-721-7018.
Lauten Audio
www.lautenaudio.com

Waves Celebrates 25th Anniversary with Reskinned Plugins

By
Bryan
-


Waves has turned 25. Starting with the Q10 and spanning the market to hundreds of plugins and counting, Waves has quite a history and has become one of the most well known plugin manufacturers. On top of offering a HUGE SALE, Waves is re-skinning 3 of their classic plugins.

KNOXVILLE, TN, September 25, 2017 — In honor of its 25th Anniversary, Waves Audio, a leading provider of digital signal processing solutions and digital music production tools, is now shipping revamped and reskinned versions of three of its classic plugins: the Q10 Equalizer, the AudioTrack channel strip plugin and the L1 Ultramaximizer level maximizer/peak limiter. These revamped 25th Anniversary editions include new plugin features, as well as a choice between two graphic user interfaces – the classic “Legacy” interface, and the new “Modern” interface created especially for the 25th Anniversary celebrations.  
Q10 Equalizer
The first plugin by Waves, the Q10, is a multiband paragraphic EQ with up to 10 bands of precision equalization for mixing and mastering. It is a go-to tool for both surgical repair and gentle coloring. With its ten bands, Q10 offers unparalleled equalization options. Each band offers six different filter types and complete control of gain, frequency and Q. And unlike most multiband equalizers, each Q10 band can use any filter type, so there is immense flexibility when shaping a signal. The Q10 offers extremely large Q values and large boosts and cuts, so you can fix and focus sounds that a conventional EQ could not touch. It is configurable as either two independent mono equalizers or as a precisely ganged stereo equalizer.  
New 25th anniversary features include:

  • Proportional Q filters: When selected, Q value is proportional to gain adjustment. As a band’s gain increases, Q value increases and the filter narrows.
  • Selectable band control: Choose between viewing all parametric band controls in one view or focusing on a selected channel. Both views show the complete graphic display.
  • Double Precision control: Lets you choose between 32-bit floating point processing and double-precision 64-bit processing. 

AudioTrack
CPU-light with pristine sound quality and serving the needs of a full channel strip within a single interface, Audio Track offers the most efficient way to mix your tracks. It includes three processors – EQ, compression and gating – in one easy-to-use plugin, AudioTrack functions like a mixing console’s channel strip, serving your most essential needs on any audio track. You can open multiple instances, one per channel, and avoid the need to jump back and forth between separate equalizer, gate and compressor plugins.  
The four-band paragraphic equalizer provides bell, high-pass, low-pass, and shelving filter options. Its dynamics section includes a fully adjustable compressor/expander and gate. Input and output faders allow for proper gain staging, and dynamics and output meters enable accurate visual feedback.  
New 25th anniversary features include:

  • Focused EQ band display: Lets you view only the selected band’s parametric controls, to let you quickly understand and control band values
  • Separate meters for Comp and Gate gain reduction: For greater clarity and focus
  • Double Precision: AudioTrack now executes 32-bit floating-point processing at 64 bits 

L1 Ultramaximizer
A must-have plugin for mastering, the L1 is the first software unit to offer a brick wall limiter. With only two major controls, quick and simple to use, the L1 is an advanced-level maximizer, look-ahead peak limiter and high-resolution re-quantizer – a powerful industry-standard all-in-one plugin for mastering and mixing. Renowned for its transparency and punch, the L1 has been the standard tool used on countless hit recordings over the past couple of decades. When you need it loud, but without added coloration, the Waves L1 is your go-to plugin. 
New 25th anniversary features include:

  • True Peak domain setting: Eliminates inter-sample clipping

  • Automatic Release Control: Automatically adjusts release time 

To learn more, visit:

Video link: https://youtu.be/G_yKkt9huvc

Plugin-Alliance and Unfiltered Audio Release SpecOps

By
Bryan
-
Normal plugins are boring. Unfiltered Audio has brought us incredible plugins such as Fault, giving you endless ways to mangle audio to unrecognizable proportions. Now SpecOps has arrived to push the envelope further.
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 SpecOps — extending Californian coding masterminds Unfiltered Audio’s Plugin Alliance partnership with complex and powerful processing packed into an easy-and-fun-to-use plugin possessing 36 diverse and flexible spectral effects, ranging from subtle to extreme, so sound designers and electronic music producers can easily access a multiverse playground of special effects and sweeteners that can deconstruct sounds at the spectral level and reconstruct them in new and exciting ways — as of September 19…
As implied by name, SpecOps allows application of frequency-dependent gain, compression, or distortion to complex sources such as drums or vocals with spectral accuracy and a unique workflow to offer a fresh approach to conventional practices. Putting FFT (Fast Fourier Transform) analysis at its creative heart, the plugin splits audio into hundreds — or even thousands — of frequency slices (or ‘bins’), which can then be manipulated by a slew of onboard spectral effects. End users can select from 36 effects — including more usual suspects (such as Filter, Freeze, and Clip) or from more unique- sounding selections (such as Contrast or Decapitate) — to apply on one of three fully-adjustable bands that can zero in on parts of the source’s spectra at extremely high resolutions. Reality dictates that this can be used to boost/cut, add distortion, or compress with surgical precision — or even dissect and demolish audio parts to create a totally new sound!
Still better, the onboard Spectral Compander compresses or expands per-frequency-slice (per-bin), so dynamics of anywhere between 128 to 32,786 slices (based on the FFT Size setting) are individually analyzed and treated simultaneously! Source- and resolution-dependent dynamics uniquely transform timbres to reveal sonic character that the user never knew was there!
There are also a number of global parameters equally worthy of deeper exploration, including a super-clean Pitch Shifter that goes up or down an octave — great for vocal effects; Speed and Freeze controls that smear and lock SpecOps’ sample analysis, delivering anything from sweet and subtle ambient pad effects to powerful spectral synthesis; and a powerful, 2-pole analog-style lowpass Filter.
Furthermore, Unfiltered Audio’s flagship, freely-assignable MODULATION system sees SpecOps through to a higher state of interaction, including seven built-in modulators — namely, a powerful ,16-step sequencer; input follower; sample and hold noise; four different LFOs (Low Frequency Oscillators); macro control (can be used with any MIDI controller); and a ROLI Lightpad module (for hands-on control courtesy of ROLI’s revolutionary Lightpad Block controller)… all of which can be routed simultaneously to any and all control knobs and sliders, thanks to intuitive drag-and-drop-style ‘cables’ connecting those modulators to almost any parameter.
Put it this way: the applications are truly limitless with SpecOps, spanning moderate processing for music production to severe mangling for sound design. It is truly an interstellar transporter to new worlds in electronic and experimental music, so putting all those creative options into their rightful perspective is an enlightening experience. Tired, static synth pads come alive when modulating the levels, filtering, pitch, noise, or distortion in different frequency bins, creating ever-shifting timbral patterns that user preset libraries could only dream of. Don’t own a synth? Don’t worry. Why not freeze audio on an acoustic instrument track and apply pitch shift to create a spectral synthesizer? Either way, experimental music producers and sound designers can use SpecOps’ train-wrecking effects to brutally transform a hi-hat track into bursts of alien static or make pristine vocal tracks sound like R2D2 with a sore throat! That said, SpecOps is also an industrial music producer’s destructive weapon. Why not modulate a frequency-dependent clipper on an electric bass guitar track to add nasty bottom-end distortion that pulsates perfectly in time to the music’s tempo? Why not, indeed!
Intriguingly, for all its brute strength, SpecOps can conversely be polite — problem-solving to boot. Brittle electric guitar tracks can be warmed up by using the envelope follower to modulate SpecOps’ Reverse algorithm. At the other end of the musical scale, SpecOps can automatically find and attenuate the weakest bass frequencies on a full mix, clarifying and bringing focus to the bottom end. Add more power and punch to mixes while automatically taming unbalanced frequency peaks by using SpecOps’ Spectral Compander to independently compress thousands of frequency bins at once. Or use the spectral lowpass and noise filters along with pitch modulation to temporarily create thin, flanged breakdowns on full mixes to startling effect.
Effectively, then, the choice is in there… just ask Richard Devine, an acclaimed sound designer who has contributed patches for prominent products by a number of notable hardware manufacturers and software developers over the years. After all, his name features prominently amongst the hundreds of out of this world-sounding presets included with SpecOps!
SpecOps is available for purchase — as AAX AudioSuite-, AAX Native-, AU-, VST2-, and VST3-supporting plugin formats 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 $89.00 USD until October 20, 2017, rising to an MSRP of $129.00 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 SpecOps webpage here: https://www.plugin-alliance.com/en/products/unfiltered_audio_specops.html

Watch Plugin Alliance’s tantalizing trailer for SpecOps here: https://youtu.be/hB8mvJlEYlQ

Watch Urban Sound Studio’s Todd Urban’s SpecOps tutorial here: https://youtu.be/ozi1Um0KzK0

Eventide Partners with Newfangled Audio to Release EQuivocate

By
Bryan
-

EQuivocate is a new plugin aimed at getting the most natural sounding enhancements to tracks that the human ear perceives. Using models of filters that are most commonly found in the human ear, EQuivocate uses these bands to its advantage to get an organic balance. Initially the plugin is free but will go up to $99.00 after October 31st.

NEW YORK, NY, USA: new audio tools creator Newfangled Audio is proud to announce availability of EQuivocate — entering the EQ fray for free (initially) with a plug-in premiere based on the critical bands of the human ear — as of September 20…
EQuivocate is the ideal EQ for naturally changing the tone of any sound, so it is perfect for mixing and mastering applications. As EQuivocate uses filters that are modelled on the human ear, each of its 26 bands tickles a different part of the inner ear, making any combination of settings sound as natural as ‘humanly’ possible. Combining this with a linear-phase filter shape that reduces pre-echo makes EQuivocate an EQ with a difference that can clearly be heard.
Use EQuivocate’s Match EQ feature to make the sound of your track match or complement the audio signal streamed to its sidechain. You can also use it to make a final master match the tone of a reference track, or help fit a sound into a dense mix. Unlike other match EQ plug-ins, EQuivocate provides a transparent match without trying to model imperceptible differences which can cause a match EQ to sound unnatural. Feed your favorite song or individual track into it and instantly morph your tone to match.
Features:

  • Simple yet musical, the 26 linear-phase auditory filters are shaped to approximate the critical band filters in your ear.

  • Match EQ feature matches the tone of one track to another. Blend two tracks to sound like they came from the same source, compliment each other for better separation, or make a final master have a similar tone to a reference track!

  • Click and swipe your mouse across the gain slider field to draw an EQ curve. Then toggle DRAW CURVE off to fine tune.

  • Use the OUTPUT level AUTO button to automatically compensate for level changes introduced by the EQ.

  • Solo the output of one or more bands to easily find problem frequencies.

  • Add or remove filters to customize your sound.

  • Includes artist presets from Richard Devine, Jeremy Lubsey, Alex Saltz, Sebastian Arocha Morton, Richard X, and John McCaig.

  • Start with the presets or create your own. Use the COMPARE button to toggle between two unique settings.

EQuivocate is exclusively available through Eventide (as an AAX/AU/VST plug-in for Mac OS X 10.7+ and Windows 7+) for free until October 31, 2017 — rising to an MSRP of $99.00 USD. Visit: https://www.eventideaudio.com/equivocate for more information.

Propellerhead Reason 10

By
Bryan
-


One of the most unique DAWs just turned 10. After announcing earlier this year of VST Support, Reason has turned 10. This new iteration of the DAW used by many in the sequencing and recording industry touts new features and instruments. This version claims to be the biggest update yet.

Stockholm, Sweden, September 22, 2017 – Propellerhead Software today is thrilled to announce Reason 10, the biggest content update ever for Reason owners. Built on an award-winning legacy to make musical dreams a reality, Reason 10 features two massive brand-new synthesizers, three new live-sounding organic instrument devices, a top-notch acoustic piano, creative modulation device, and 3GB of cutting-edge drum loops and samples. 
“Great-sounding instruments and effects inspire musicians to create more and better music. With Reason 10, not only have we delivered some of the best-sounding instruments we’ve ever created, the result is the biggest upgrade we’ve ever done,” said Mattias Häggström Gerdt, Propellerhead Product Manager. “I’m particularly fond of the new synths, Europa and Grain, that set a new standard for what’s available in the box. With the two new synths, a plethora of sampled instruments, drums, loops and much more — we can’t wait to hear what music makers are going to create with Reason 10.” 
Reason 10 includes two brand-new synthesizers: Europa Shapeshifting Synthesizer and Grain Sample Manipulator. Europa is a dynamically generated wavetable synthesizer with extreme flexibility. Apply a wide range of modulation to the waveform itself, to start with. Add advanced spectral filtering, harmonics processing and even draw your custom waveforms. And the best part: despite its deep synthesis powers, it’s still surprisingly easy to use. Grain opens up the world of granular synthesis for Reason users with immense sonic power and an inviting interface. Drop any sample into Grain and explore the endless sonic variations you can create with Grain’s selection of algorithms, ultra-flexible modulation, routing and effects.  
In collaboration with Soundiron, Reason 10 includes three new sampled instrument collections. Klang Tuned Percussion includes 10 high-quality sampled melodic percussion instruments, perfect for spicing up modern pop and electronica. Pangea World Instruments includes 11 world instruments, adding a unique flavor to any genre of music. Humana Vocal Ensemble is a collection of choirs and solo vocals, perfect for a human touch or a bombastic film or game soundtrack. 
Reason 10 also now includes Propellerhead’s acclaimed Radical Piano instrument and Synchronous Effect Modulator – previously only available as Rack Extensions via the Propellerhead Shop. Radical Piano is an authentic, flexible, and bendable piano instrument that provides sounds for every situation and every song. Synchronous will bring your music to life. Create quick sidechain effects or draw your own LFO curves to control filter, delay, reverb, distortion and level.  
In addition, Reason 10 comes with over 3 GB of sample content in Reason Drum Supply and Reason Loop Supply. These ReFills include a wealth of new drum samples and loops, from vintage drum machines to the sounds of the future. 
View the Reason 10 video announcement here. 
For details, see propellerheads.se/Reason10Announcement.    
Pricing and Availability
Reason 10 is available as a direct download from Propellerhead’s website or from an authorized dealer. 
Reason 10 will be available for purchase worldwide on October 25, 2017, at the following suggested retail pricing:
Reason10 USD $449 / EUR €405
Reason Essentials 10 USD $129 / EUR €120
Reason 10 Upgrade (from any previous Reason version) USD $129 / EUR €129 

 

Embertone Joshua Bell Violin

By
Bryan
-
Let’s face it, You probably can’t afford or play as good as Joshua Bell. So instead of hiring out a difficult string player who has “opinions” of the “voice” his instrument has in relation to the track, why not just play it yourself in Kontakt?
RALEIGH, NC, USA: virtual instrument sampling company Embertone is proud to announce availability of Joshua Bell Violin — a creative collaboration with Grammy® Award-winning violin virtuoso Joshua Bell that enables composers, hobbyists, musicians, and performers alike to harness his celebrated sound as an advanced virtual violin for Native Instruments’ industry-standard KONTAKT Player platform that is simple to use, producing expressive and realistic results representing Embertone’s most ambitious release to date — as of September 18…
Several key components combined to transport the tone of a priceless Stradivarius and the musicality of an acclaimed violin virtuoso to the KONTAKT Player platform, producing super-intuitive playability available to all who work with the resultant Joshua Bell Violin namesake plug-in instrument literally like no other in any AAX-, AU-, RTAS-, and VST-compatible host application or DAW (Digital Audio Workstation), with Grammy® Award-winning violin virtuoso Joshua Bell surely first in line to take a virtual bow. But Bell surely needs no introduction as one of today’s most celebrated violinists… but his lengthy list of achievements make for fascinating reading regardless. Restless curiosity, passion, and multi-faceted musical interests maketh the man — a recording and performing artist unparalleled in the classical music world. With more than 40 CDs of recorded classical repertoire to his notable name, alongside standout soundtracks such as the Oscar®-winning score for The Red Violin, he has been warmly embraced by wide-reaching television audiences with appearances ranging from The Tonight Show, Tavis Smiley, and Charlie Rose to CBS Sunday Morning and Sesame Street. Bell was one of the first classical artists to have a music video on VH1 and also the subject of a BBC Omnibus documentary. He has appeared in publications ranging from The Strad and Gramophone to Time, The New York Times, People Magazine (50 Most Beautiful People), USA Today, The Wall Street Journal, GQ, Vogue, and Reader’s Digest to name but a notable few. Furthermore, Bell regularly performs on the world’s most prestigious stages — from Carnegie Hall (33 times) to the Hollywood Bowl — with his 1713 Huberman Stradivarius violin and his late-18th Century French bow by François Tourte.
That 1713 ‘Huberman’ Stradivari violin now owned by Bell has a thrilling history, however. Formerly known as the ‘Gibson’ Strad, the violin was twice stolen from the Polish violinist Bronislaw Huberman and for nearly 50 years remained undiscovered in plain sight, disguised by its thief — a café violinist by the name of Julian Altman, who made a deathbed confession to his wife. After Altman’s death, his wife had the violin authenticated and reported to the proper authorities. An acclaimed English violinist, Norbert Brainin, bought it, subsequently selling it to a dealer who had an investor eyeing it as a museum piece. But Bell intervened, showing great empathy for the instrument in question — which he felt must be played — and also for its rightful owner, Bronislaw Huberman — who had passed away in 1947, by buying the violin for nearly $4 million, selling his own $2 million 1732 Tom Taylor Strad in the process. Put it this way: “The connection between violinist and violin, it becomes almost like your soul mate.” So says Bell, before adding: “Some people compare it to getting married.”
The rest, as they say, is history, and Bell uses the historic instrument in question exclusively to this day! But better still, the fact that a musician of Bell’s pedigree plumped for creatively collaborating with Embertone — esteemed as they are in their chosen field of virtual instrument sampling — surely speaks volumes. Both teams met at Avatar Studios — a world-class recording studio complex (formerly known as The Power Station) — in Hell’s Kitchen, New York for two intense six-hour sessions over two days. During that time, Bell was rigorously recorded making more than 12,000 unique samples across a diverse set of articulations. Those two sessions were engineered by Richard King, himself a Grammy® Award-winning sound artist. Alex Davis and Jonathan Churchill — Embertone co-founders and instrument producers — sat in the room with Bell, holding their collective breath for the entirety of each session — hardly surprising, given that they had prepared 400-plus pages of score, and Bell had played every note on every page with astonishing artistry and energy. Embertone worked hard over the following year, harvesting each and every musical moment, refusing to waste any creative content. Clearly the result is an enormous treasure trove of inspired, expressive samples!
Setting out to create a new standard in virtual solo strings, offering an abundance of flexibility without sacrificing inspiration — and all with the unmistakable, iconic sound of Joshua Bell himself, Embertone has achieved all that and more with Joshua Bell Violin. Indeed, it offers a huge variety of standard articulations — such as sustains, pizzicatos, staccatos, and spiccatos — alongside a number of sample sets unlikely to be found elsewhere besides… Bell recorded an amazing-sounding set of eerie harmonics transitions, for example, and also a set of super flautando, a special technique he can harness from his 300-plus-year-old violin.
As an advanced virtual violin for Native Instruments’ industry-standard KONTAKT Player platform, Joshua Bell Violin is incredibly complex, featuring almost 20,000 individual samples. Yet it is designed to feel simple, thanks to the intelligent and predictive programming using a diverse array of musical properties and rule sets. And with 12 true legato/transition styles, Joshua Bell Violin allows users to play at various tempos, dynamics, and in different styles — all the while sounding authentic… akin to stepping into the shoes of one of the world’s greatest violinists and experiencing a priceless Stradivarius at their fingertips, courtesy of those thousands of rigorously-recorded samples perfectly performed by the virtuoso himself!
Whether warranting marriage is open to question, but one thing’s for sure: Joshua Bell Violin is a musical match made in heaven for composers, hobbyists, musicians, and performers alike. Anyone adding it to their KONTAKT Player instrument collection will surely be far from disappointed that Embertone engaged with Grammy® Award-winning violin virtuoso Joshua Bell on this sampled virtual instrument namesake!

Joshua Bell Violin is available to purchase and digitally download as a fully NKSTM (NATIVE KONTROL STANDARD) supporting plug-in instrument for any AAX-, AU-, RTAS-, and VST-compatible host application or DAW running on 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) directly from Embertone for a one-week introductory price of $179.00 USD (rising to $199.00 USD thereafter.)
 

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated Joshua Bell Violin webpage here: http://www.embertone.com/instruments/joshuabellviolin.php
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