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Kush Audio Releases Novatron Compressor

By
Bryan
-

The newest compressor from Kush Audio has arrived. Novatron takes all of the goodness from different compressors and places them in one interface. This allows Novatron to mimic the sound of very expensive analog in only ways a plugin can.

Novatron is an analog-modeled compressor that borrows so many sonic properties from so many different classic hardware units that, ironically, it could only exist in the world of dsp. It has separate input and output transformer Saturations, two optional Tone circuits, and a monstrous Compressor with groundbreaking attack and release controls that continuously morph through the unique qualities of Tube, FET, and VCA topologies, giving you a nearly endless set of colors and styles to play with.
What sets this plugin apart from all the others is its gorgeous sound; through painstaking modeling of the first 100 microseconds of the compressor’s response to transients, Novatron produces the same three-dimensional ’solidity’ and tonal smoothing effect that is typically reserved for expensive hardware. It also tames transients with a distinctly analog character: fast, firm, and weighty, bringing a much-needed warmth and realism to the world of ITB productions.

Price: $149.00
For more information, visit http://www.thehouseofkush.com/plugins/novatron

Waves Audio Ships the CLA MixDown Plugin

By
Bryan
-

Continuing on the CLA line of easy-to-use plugins, the MixDown Plugin is the perfect one-stop shop for your stereo mix bus. This plugin features EQ, Saturation, and Compression.

Waves Audio, a leading provider of digital signal processing solutions, is now shipping the CLA MixDown plugin, the ultimate mix buss plugin, developed together with GRAMMY®-winning mix engineer Chris Lord-Alge (Green Day, Bruce Springsteen, Keith Urban, Muse). 
For over 30 years, Chris Lord-Alge has been the mixer of choice for rock royalty, from Aerosmith to U2, Foo Fighters to Muse. One of the secrets to his signature sound have been his unique punchy, smooth, in-your-face mix buss chains – and now these chains are available to users, in this all-in-one CLA MixDown plugin. 
Lord-Alge comments, “I perfected my mix buss chains over many years and 20,000 mixes. I’ve taken my two favorite chains and put them under the hood of this simple-to-use, supercharged champion of a plugin. CLA MixDown features two flavors of my mix buss compression sound, plus console overdrive and a finishing EQ with perfect bass and treble curves.” 
He adds, “You can use CLA MixDown on your master channel, or you can use it the CLA way – on a master aux. You can add it after you finish mixing to secure your mix with that finishing touch, but I recommend you insert it before you start mixing, and then mix ‘through’ the plugin, which will help you tailor your mix and get the best sound. Either way, it will dramatically enhance your overall mix and save you precious time toward getting that final mixing touch!” 
CLA MixDown features:

  • Simple-to-use mix buss plugin for finalizing and enriching your mixes

  • Created in collaboration with GRAMMY-winning mixer Chris Lord-Alge

  • Four faders for enhancing the color, dynamics and drive of your mix

  • Bass fader: Controls the richness of the mix

  • Treble fader: Increases or decreases high-frequency presence

  • Glue: Two flavors of compression for holding the mix together

  • Drive: Analog console overdrive for increasing harmonic distortion 

Price: $99 (Regular) $29 (Introductory)
To learn more, visit http://www.waves.com/plugins/cla-mixdown.  

Audified Synergy R1 500 Series Hybrid Effects Module

By
Bryan
-

This is an interesting turn of events. Audified has made quite a few unique approaches to pro audio and this is no exception. The Synergy R1 is a hybrid software – hardware 500 series module that features reverb and saturation.

BOSKOVICE, CZECH REPUBLIC: host application and audio effects developer Audified is proud to announce (upcoming) availability of SYNERGY R1 — representing its first foray into hardware with a ‘remote-controlled’ software/hardware hybrid digital (REVERB)/analogue (SATURATOR) processing module for the 500 series modular rack frame format popularised by API (Automated Processes, Inc.) — as of July 10…
Imagine a studio reverb with seven types of algorithms in synergy with three kinds of true analogue saturation, remotely-controlled from your DAW (Digital Audio Workstation) with an outstanding sound and world-class user interface. Imagine no more! Make room (in your 500 series lunchbox) for Audified’s SYNERGY R1, a studio reverb for a new era, enabling all of that… and more.
Modern-day producers tend to shy away from audio hardware effects in this day and age. Why? Well, the luxury of recalling such sessions like yesteryear’s production pros is a time-consuming process and shrinking production budgets dictate that today’s time-stressed producers often take to sacrificing CPU (Central Processing Unit) power for plug-in processing convenience. Conceptually — and in reality, as a ‘remote-controlled’ software/ hardware hybrid digital (REVERB)/analogue (SATURATOR) processing module for the 500 series modular rack frame format popularised by API, SYNERGY R1 is an altogether different production proposition, one that effectively turns modern-day production preconceptions on their head. How? How about the fact that users can control the device from their DAW, automate it, and store session settings, courtesy of its easily accessible, front facia-positioned USB (Universal Serial Bus) connection. And that’s just for starters.
Seriously designed and sturdily built in the Czech Republic, beating at SYNERGY R1’s hardware heart are two switchable sections. REVERB is digital, providing premium-quality 24-bit A/D (analogue-to-digital) and D/A (digital-to-analogue) convertors, 32-bit floating point DSP (Digital Signal Processing) and true BYPASS functionality; all told, there are seven selectable reverb algorithms (simulating several different types of spatial acoustics), ranging from Room all the way up to Tunnel, and users can control four front panel-accessible parameters: DECAY, PREDELAY, COLOR, and TYPE. The second — true analogue — SATURATOR section features three switchable saturation circuits with GE (Germanium), OA (OpAmp), and JF (J-FET) types (that add harmonics to the signal) and a GAIN control. (Centrally positioned, a distinctive display is packed with Light Emitting Diodes to assist with parameter editing visually via numeric and bar indication of values — LEDs for the edited parameter change colour to yellow and the value is visible in the numeric part of the display while other parameter LEDs remain green; when editing is finished, the display returns to the default view — numeric area displaying preset number and all value indicators in green… or red if the parameter is switched off.) Both sections include wet/dry MIX controls, so SYNERGY R1 can be used as a 100% digital reverb or a 100% analogue saturator (and anything between those two worlds).
What truly sets SYNERGY R1 apart from the run-of-the-mill 500 series pack, however, is that each and every one of its functions can be remote controlled via the included SYNERGY R1 plug-in that can be used from within all major DAW host applications on Mac and PC (with AAX, AU, VST2, and VST3 support). Hardware parameters can be fully automated and are saved within projects. The control plug-in supports multi-instance usage, so several plug-ins could be assigned to one hardware unit. Also included is a standalone SYNERGY R1 control application, allowing for independent control of SYNERGY R1 via Mac or PC. Production pros of old school-style thinking, of course, can still get hands-on with the hardy hardware itself… if they wish to do so!
So who better to sing SYNERGY R1’s praises than the talented individual behind its innovative design? “I’m a reverb guy,” gushes well-known Czech composer/producer Boris Carloff, before adding: “I own 11 hardware reverb units in my studio, including an EMT 251, Bricasti M7, and AKG BX25 spring reverb — all classics, but I always dreamt of having something with the mellowness of old plate reverbs like the EMT 140. The analogue saturation of overdriving circuitry made their sound so lush, three-dimensional, and significant that I think I prefer them to any of the classic digital reverbs. On the flipside of the coin, I love the versatility of digital’s different algorithms. And, of course, I also like simple DAW control. So something with the best of both the analogue and digital worlds, with all their wonderful possibilities combined, seemed like a good solution to me, which was the thinking behind SYNERGY R1.”
For all its (breakthrough) bells and (wondrous) whistles, what SYNERGY R1 really boils down to is its sound. “New high-end algorithms with real analogue saturation makes for an unbelievably lush- and nice-sounding reverb, but there is also an option to use clean digital reverb,” its creator continues. “With real bypass of the digital reverb it is also possible to apply three different types of parallel analogue saturation to your mix.”
An amazing mix of technologies, then, perfectly packaged into a stereo audio processing module powered by a 500 series lunchbox, but boasting DAW control, carefully tuned reverb algorithms, and the satisfying sound of real analogue circuitry. Concludes Carloff: “SYNERGY R1 is something new that sounds superb; I believe it’s a must-have processor for every studio — project or commercial.”
SYNERGY R1 is all set to make its debut on the world stage by being showcased by Audified’s North American distribution partner, Eleven Dimensions Media, on Booth 227 at Summer NAMM 2017, July 13-15, Music City Center, Nashville, TN, USA. Ultimately, witnesses will want to either add this ‘remote- controlled’ software/hardware hybrid digital (REVERB)/analogue (SATURATOR) processing module to their 500 series lunchbox or get themselves a 500 series lunchbox specifically to add a SYNERGY R1 — or several — to their studio setup!

SYNERGY R1 is scheduled to start shipping in September 2017, when it will become available for purchase through Audified’s growing global network of distribution partners — including Eleven Dimensions Media (https://www.11dmedia.com) for North America — with a projected MSRP of $1,399.00 USD.

For more in-depth information, please visit the dedicated SYNERGY R1 webpage here: http://synergy.audified.com

Audient Releases Tutorial Hub

By
Bryan
-
 
 Everyone can use some help… especially when it’s free. Audient now has a tutorial hub training.
Herriard, UK; 17 July 20, 2017 – To complement the recent unveiling of ARC Creative Hub, which gives new and existing customers access to a comprehensive range of free software, Audient introduces a new online Tutorial Hubcontaining general advice on recording, mixing, mastering and technology in different music genres, and helpful tips for users of specific Audient products.

 

“No matter what your experience, there is always something new to learn, especially from the likes of top music producers Cenzo Townshend and Ulrich Wild, or pro musicians Ash Soan and Cody Stewart,” says marketing manager Andy Allen, who is spearheading the launch of Audient’s online Tutorial Hub today. Audient has gathered together videos, professional tutorials and user tips onto one easy-access platform to create a free learning centre for all visitors to its website.
Current video content includes general topics like how to record vocals, snare drum re-amping, and recording a band at home to technical concepts like variable impedance and clocking concepts and on into Audient specific product tips such as using ScrollControl, HMX, and IRON.
Andy continues, “Anyone can benefit – even if you aren’t (yet) an Audient customer. If you’re looking to brush up on your mixing skills, get to know what your iD4 can do, learn more about tracking guitars or if you simply want an insight into other professionals’ recording process, it’s all there – completely free – on the Tutorial Hub.”
Audient has plans for regular additions and updates to the content on Tutorial Hub, which features a handy search function so users can browse by category and/or product to find specific content quickly and easily.

PreSonus StudioLive 24 Series III Digital Console/Recorder

By
Bryan
-
The StudioLive Mixers have been a hit, especially with home studios and live gigs. Presonus is now shipping the StudioLive 24 Series III
PreSonus’ new StudioLive 24 digital console/recorders are now shipping, adding to the company’s third-generation StudioLive® Series III line, which launched earlier this year with the StudioLive 16 and StudioLive 32. Like all Series III consoles, StudioLive 24 further improves on the StudioLive’s legendary ease of use while letting you customize workflow and operations to fit the way you work. All Series III consoles feature touch-sensitive, motorized faders, recallable XMAX Class A preamps, and the full 32-channel mix DSP under the hood.
With the StudioLive Series III mixers you can now do complete multitrack recording without a computer. PreSonus Capture™ multitrack recording software with virtual soundcheck is installed directly into the consoles, enabling you to record up to 34 tracks to the onboard SD recorder. When finished recording, open your Capture session in Studio One® for Mac® and Windows® (included), and the entire mix scene will transfer to your Studio One session, including fader levels and Fat Channel settings.
Get 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.
StudioLive Series III goes above and beyond in providing ways to customize things to best fit the way you work. User layers for the channel faders let you place any channel, DCA master, or bus fader anywhere you want—and they’re easy to set up. You can customize your Fat Channel layout, putting the parameters you care about most right at your fingertips, and there are several workflow options to personalize your mixing experience.
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.
In addition to 4 fixed subgroups, StudioLive Series III consoles offer 16 FlexMixes that can be individually designated as aux, subgroup, or matrix mixes, for a total of 20 mix buses, not counting the main mix, effects mixes, and solo buses. Twenty-four DCAs enable easy, flexible control of groups of channels.
An AVB Ethernet connection enables you to network compatible computers and stream up to 55 channels of audio to and from a Mac or Windows PC. (AVB networked solutions, including stage boxes, personal monitor mixers, and increased third-party AVB interoperability, are coming later in 2017.) You also get 40×40 recording via USB 2.0, giving you a choice of computer recording methods. A separate 1 Gb Ethernet port can connect to a wireless router or directly to a computer for remote control of virtually all features via a wired or wireless connection.
PreSonus StudioLive Series III 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™, and iPad®. Even add a second—or third, or even fourth!—screen for fast workflow. Completely automate virtual soundchecks and record shows with Capture™ for Mac and Windows (included)—or record with Studio One (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.
The StudioLive 32 comes with Studio One Professional, while the StudioLive 16 and StudioLive 24 come with Studio One Artist. With either version of this easy-to-use DAW, you can remote control any StudioLive Series III 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 Suitefor Mac® and Windows®, which includes seven popular plug-ins in VST, AU, and AAX formats.
All StudioLive Series III models are available immediately, with U.S. MAP prices of: StudioLive 32  $2,999.95 ; StudioLive 24 $2,499.95; and StudioLive 16 $1,999.95. For more information please visit www.presonus.com/products/StudioLive-Series-III-Digital-Mixers.

Kush Audio Novatron Compressor Plugin

By
Bryan
-

Kush Audio has been working on a top secret project for months and I’ve been bothering them to tell me… Then this announcement showed up!

2 years of researching
the initial 100 microseconds
of analog compression
is about to pay off.
Reactions from our veteran testers:
“How on earth did you do this??”
– Alexi C.
“Unreal… has more glue than half my hardware.”
– Michael V.
“Ridiculously easy to use, and the sound… I’m truly amazed.”
– Moilim Y.
Stay tuned to the Museletter,
all will be revealed.
09.05.17
 

Price: $???.??
Visit http://www.TheHouseofKush.com  and sign up for email updates

Warm Audio WA-14 Condenser Microphone

By
Bryan
-

Warm Audio has returned with another classic microphone with the WA-14

Introducing the WA-14 Large Diaphragm Brass Capsule Condenser Microphone, which is based on the classic condenser microphone from the 70’s that has been used on countless hit records. The WA-14 utilizes fully discrete classic circuit topology, including an all-brass CK12 style capsule design by “Lens Kondensator” and a custom premium CineMag USA transformer. The WA-14 can be used on an array of sources, which includes: punchy and warm intimate lead vocals, aggressive guitars and heavy percussion. The WA-14 provides a realism and thickness that is true to the vintage sonics, but now at an affordable price.

Price: $499
For more information visit https://www.warmaudio.com/wa14

Spitfire Bernard Herrmann Composer Toolkit

By
Bryan
-

Spitfire makes incredible string libraries. Bernard Herrmann makes impactful scores. Together (courtesy of the Bernard Estate) a sample library has been made to commemorate the unique approach Bernard made to scores as well as push the envelope with current scores.

LONDON, UK: Spitfire Audio, purveyors of the finest virtual instruments from the finest musical samples in the world, is proud to announce availability of BERNARD HERRMANN COMPOSER TOOLKIT — taking inspiration from the electric genius of its iconic composer namesake (noted for his lengthy legacy of fresh film scores such as Citizen Kane, Psycho, Vertigo, and Taxi Driver that continue to inspire today’s composers) when working exclusively with The Bernard Herrmann Estate to curate and assemble a unique set of studio orchestra ensembles informed directly by a legendary orchestration aesthetic recorded at London’s legendary AIR Studios (Studio 1) by Abbey Road Studios Senior Engineer Simon Rhodes (Avatar, The Grand Budapest Hotel, The Magnificent Seven) before being ‘translated’ to Native Instruments’ industry-standard KONTAKT PLAYER platform as an orchestral innovation for all — as of June 22…
“No composer contributed more to film than Bernard Herrmann, who, in over fifty scores, enriched the work of such directors as Orson Welles, Alfred Hitchcock, François Truffaut, and Martin Scorsese.” So stated Bernard Herrmann biographer Steve C. Smith. So when the opportunity arose for Spitfire Audio to collaborate with his estate, excitement throughout the cutting-edge company co-founded by working film composers was understandably palpable.
Putting the resultant BERNARD HERRMANN COMPOSER TOOLKIT into its rightful perspective, Spitfire Audio Director Paul Thomson touts, “This is an incredibly vivid, tense, and exciting collection of recordings. It covers all kinds of things, from more slightly standard orchestral instruments through to unusual combinations of orchestral instruments, some synths, and some more esoteric instruments in there as well. This is definitely not a vintage sound source, so we’re not looking at recreating the sound of movies of the Sixties. What we’re looking at is the inspiration of a giant of cinema. Bernard Herrmann’s career started with Citizen Kane and finished with Taxi Driver, and he did a colourful collection of Hitchcock movies in between. But not just that; he was also a very passionate advocate for new music, championing the careers of many composers who would never have been heard otherwise. We’ve taken his original scores from some of his key movies and we’ve looked at the way that he tended to combine instruments, and we’ve used that as the inspiration for how we’ve recorded this collection of sounds.”
So how, exactly, did the steadfast Spitfire Audio team set about recording what would become BERNARD HERRMANN COMPOSER TOOLKIT? Well, working exclusively with The Bernard Herrmann Estate to curate and assemble a unique set of studio orchestra ensembles informed directly by a legendary orchestration aesthetic, all duly decamped to Studio 1 within London’s legendary AIR Studios — complete with its unique AIR-custom Neve/Focusrite large-format mixing desk with 72 channels incorporating original ‘AIR Monserrat’ mic preamps and GML automation, alongside a 140m2 fully-floated floor live room capable of accommodating up to 45 musicians — in the capable company of Abbey Road Studios Senior Engineer Simon Rhodes — who has a longstanding association with various composers, including the late James Horner whom he worked with for 18 years on over 40 projects including Avatar, the highest grossing film of all time — to capture players performing as Bernard Herrmann himself would have done had he still been working today… boisterous, lively, and upfront.
Unusual instrumental combis, selected groups, chords, effects, and much more are the supremely sampled order of the day with BERNARD HERRMANN COMPOSER TOOLKIT, tasty musical morsels served up in an easily accessible form from within Spitfire Audio’s already-familiar GUIs (Graphical User Interfaces) and organised as follows: STUDIO ORCHESTRA; HIGH STRINGS; HIGH STRINGS OCTAVES; HIGH STRINGS HALF SECTION; LOW STRINGS; LOW STRINGS AND HORNS; LOW STRINGS AND TROMBONES; PICCOLO AND FLUTES; CONCERT FLUTES; MIXED FLUTES; FLUTES AND CLARINETS; COR ANGLAIS, CLARINET, AND TRUMPET; OBOES, BASSOONS, AND HORNS; TRUMPET AND XYLOPHONE; HORNS; MID BRASS; TROMBONES; TROMBONES AND TIMPANI; HARP AND CELESTE; HARP AND VIBRAPHONE; ONDES MARTENOT; PERCUSSION; TIMPANI; and SYNTHS. Speaking of the latter, included in the ‘advanced’ folder are over 30 patches inspired by Bernard Herrmann’s use of synthesisers in combination with orchestral material, all of which can be controlled using Spitfire Audio’s Mercury Synth GUI, an ingenious interface initiating instant interaction without forcing users to delve deep under the KONTAKT hood; helpfully, all controls are assignable to (compatible) control surfaces, so users can quickly make Spitfire Audio’s synth sounds their own with minimal fuss.
Much fuss has been made about Bernard Herrmann, however. And deservedly so since he is one of the great modern composers, after all. His work for TV and film is nothing short of iconic, and truly synonymous with mid-20th Century cinema. Collaborating with Orson Welles on Citizen Kane (1941), Martin Scorsese on Taxi Driver (1976), and in longterm partnership with Alfred Hitchcock on scores such as Vertigo (1958), Psycho (1960), The Birds (1963), Marnie (1964), and beyond, the sheer magnitude of critical works is breathtaking. But not only did his work have a significant impact on popular culture at the time, more recently those works have been used to invigorate contemporary scores, such as Quentin Tarantino’s twist on the Twisted Nerve theme in 2003’s Kill Bill, 35 years after its inception — an eerie whistle which is now instantly identifiable worldwide.
But Bernard Herrmann demonstrated a unique and trailblazing compositional style throughout his celebrated career. His orchestrations were entirely original, daring, and inventive — albeit always appropriate for the context, so subsequently incredibly influential in film scoring. Psycho — famed for its strings-only approach — is an obvious example of a totally new way to score a thriller. The bold selection of specific instrumental ensembles — the infamous Torn Curtain featured 12 flutes, for instance — and choice of interesting combinations — harp and vibraphone in Vertigo; stopped horns and pizzicato strings in North by Northwest (1959) — challenged the status quo. Equally, experimenting with electronic instruments in scores — the Ondes Martenot in The Day The Earth Stood Still (1951) and amplified Moog synths in 1972’s Sisters and Endless Night — brought with them sounds previously unheard in cinemas. However, Herrmann also went as far as to affect change in the performance style of players, requesting that they did not play in the then-traditional, somewhat overblown nature that other Hollywood composers of the time tended towards.
Outside of his innovative scoring for film for which he remains best known, Herrmann had boundless curiosity and a genuine love of new music, championing the names of several composers who became household names as a result of his hard work as a conductor. As Chief Conductor to the CBS Symphony Orchestra, and the many radio broadcasts he made with them, he helped bring a huge variety of often little-heard music to the masses.

In short, Bernard Herrmann was a truly individual voice, an innovative individual who stood firm against what he saw as the dilution of the art form to which he dedicated his life. Little wonder, then, that his powerful presence continues to be felt so strongly so long after his passing, respected by and resonating with today’s film composing community. It is in this spirit that Spitfire Audio brings BERNARD HERRMANN COMPOSER TOOLKIT to bear on today’s ever-expanding compositional climate as an orchestral innovation for all. As Paul Thomson tellingly concludes — for the right reasons, it’s all in there for the taking: “Tons and tons of really great material, recorded in a tight, dry acoustic that is a very, very fine room through a lot of amazing mics by Simon Rhodes. It really is a wonderful-sounding library — hope you’re going to enjoy using this and looking forward to seeing what you come up with.”

 

BERNARD HERRMANN COMPOSER TOOLKIT can be purchased and digitally downloaded (as 225.0 GB of uncompressed .WAV files, featuring 186,742 samples) for a time-limited introductory promo price of £339.00 GBP (inc. VAT)/$399.00 USD/€409.00 EUR (inc. VAT) until Thursday, July 6, 2017 — rising thereafter to an MSRP of £429.00 GBP (inc. VAT)/$499.00 USD/€509.00 EUR (inc. VAT) — from here:http://www.spitfireaudio.com/shop/a-z/bernard-herrmann-composer-toolkit/

Waves Nx Adds Headphone EQ Calibration

By
Bryan
-

The Waves Nx  system was released a while back and featured head tracking to better immerse engineers and performers into headphone mixes while either tracking or mixing. Now, one of the things we at Everything Recording wanted to see in the system is finally released… kind of. Nx now supports EQ curves to balance out certain brands of headphones.

KNOXVILLE, TN, July 5, 2017 — Waves Audio, a leading provider of digital signal processing solutions and digital music production tools, announces an update to the Waves Nx Virtual Mix Room plugin – a new headphone EQ calibration feature. Added in response to popular demand, this new feature allows users to select a correction EQ curve for specific popular headphone models.
Nx Virtual Mix Room is a virtual monitoring plugin that recreates the three-dimensional acoustics of a professionally treated mix room on any set of headphones. This allows you to hear on headphones the same depth and panoramic stereo image you would hear from speakers in a physical room, enabling you to properly judge how your headphone mixes will translate to speakers.
Based on precision headphone measurement data provided by www.headphone.com, the Nx plugin’s new EQ calibration curves are designed to balance out any extreme features in your headphone’s frequency response, correcting them toward a common frequency balance. This provides a more transparent starting point for monitoring and mixing.
The following headphone models are currently supported by Nx:
Audeze EL-8 (Closed-Back)
Audeze iSINE 20
Audeze SINE
Audio-Technica ATH-M50x
AKG K-702
Beyerdynamic DT-880 (250 ohm)
Beyerdynamic DT-990 (250 ohm)
Sennheiser HD-280 Pro
Sennheiser HD-600
Sennheiser HD-800
Shure SRH-440
Sony MDR-7506
Using Nx Virtual Mix Room with EQ calibration, users can now mix and monitor on headphones with greater confidence than ever, experiencing precise, reliable high-end sound in the studio, at home or on the road.

Price: $39.00
For more information, visit http://www.waves.com/nx
 

Review: Sonible Smart:EQ+

By
Bryan
-

We’ve all been here. A track presents itself with problematic frequencies and resonances but no matter how much tweaking is done, just won’t fit in a mix. Maybe you’re a professional in a fast-paced audio environment who needs precision on the go. Maybe you’re new to the mixing game and need a little help learning what to look for when EQing tracks. Or… maybe you’re just a lazy engineer. There’s no shame in any of that; Sonible Smart:EQ+ has you covered. This EQ uses intelligent algorithms in its “smart” bands to analyze the content of tracks and suggests an EQ curve, more precise and accurate than conventional EQ.
 
The plugin comes in all of the standard VST, AU, and AAX flavors and installation is a breeze. Registration comes via a computer bound license model and can only be installed on two systems. This can be problematic for engineers on the go due to not being able to store the license on USB thumb drives or iLoks but registration is fairly quick and easy. Note: I hear iLok is coming in the near future. A trial can be utilized for 30 days with no limitations as well. Another incredible fact that I hope EVERY plugin company sees rests in the bottom right corner of the GUI. If an update is available for the plugin, the area with the magic wand will display that a new version is available. For every engineer, this is beyond valuable given the sheer amount of plugins most have in their DAW. I can’t stress enough how genius this feature is.
 
At its core, Smart:EQ+ is an 8 band linear phase EQ with adjustable “Q” and fully sweep-able filters. The high and low pass filters as well as the shelving bands can also be toggled to bell filters if more are needed on a track. The interface is very straight-forward and can even be placed in “blind:flug” mode whereby all graphics are disabled and the user can depend on their ears to make key decisions. In order to make learning their plugin easier, hovering over a feature will pop up a brief description of the use of the feature. Each of the 8 bands have all of the trappings of most EQs with sweep-able frequency, gain, solo and Q, but there are a few other tricks Smart:EQ+ has under its sleeve.
 
To the right of the bands are three buttons stacked on each other. The Clear Solo will remove the solo feature from all bands for quick reference to the whole picture. Flat will return all gains but will leave all other settings intact and Reset will default the whole plugin. The visuals on the interface are great and the layout is superb. Each band has a representative color and Q values and gain can be seen very quickly when making adjustments using the color coded system. Overall even just as EQ plugins go, Smart:EQ+ is right up there at the top as far as function and presentation, but what sets it apart rests in the “magic wand” icon.
Smart Mode sits proudly in the middle four bands and serves a very useful and unique purpose. When the wand is clicked between the filter and solo buttons, a menu will pop up on the node of the band, waiting for audio to be played in order to analyze the frequency content and create a custom EQ curve. This curve is created to balance deficiencies and bring out what the algorithm sees best for the track. All that needs to be done on the user’s end is to pick either Speech (for vocal tracks) or Standard for everything else and a section of the track that has minimal silence and press the wand on a band. The wand will flash and will listen for audio for 15 seconds to analyze the frequency content. Once analyzing is complete, a check box will appear on the node of the band in which Smart mode was selected. Once Smart Mode is active, the gain behaves like a quasi-wet/dry knob where the more gain is applied, the more of Smart Mode’s EQ curve is applied. The gain can even be applied backwards to take out what Smart Mode suggested. The Q knob now controls how wide the EQ curve spans. P.S. Don’t worry about reanalyzing the band if you want Smart Mode to span more or less of the frequency spectrum. When a band is analyzed, it analyzes the entire spectrum every time. The only time Smart Mode would need reanalyzing is if the section analyzed didn’t affect the audio in a way the user saw as beneficial. Multiple bands in multiple areas can employ smart mode to only affect small pockets or one band can open the Q to 0 to give an EQ curve for the whole signal. Just note: if spanning the entire frequency spectrum, higher frequency content may behave a little erratically (past 15kHz) so care must be taken to dial the Q to compensate. On top of the basic controls of smart mode, a global “Smooth” control at the bottom will apply a broader, more natural curve to Smart Mode as well. This is used more to create a slightly more subtle impact.
 
So the interface is easy to use, versatile, and aesthetically pleasing. The update notification in the GUI is one of the most genius, useful things I’ve seen a plugin company do in ages. I also had no trouble learning smart mode and putting it to use. The Clear Solo, Flat, and Reset buttons were useful, but I would have loved to see them offer a “kick” mode similar to Eiosis AirEQ where “alt” or “shift” would allow for all solos or flat bands to be used quicky but still retain original settings. How I use this on AirEQ is I EQ the signal as I see fit and hold “alt” to quickly bypass my settings without having to press “bypass” two times. This would really pair great with Smart Mode to compare settings and speed up workflow.
 
So let’s get down to the question everyone is asking. How does the Smart Mode perform? On single tracks, like vocals in Speech mode, Smart:EQ+ performed very well, in almost all cases adding a pleasing balance to just about any track I threw at it, even not-so-greatly recorded vocals. I did find that parts with more dynamics like the chorus worked a little better than the verses to use for Smart Mode analysis. I attribute this to the principle that the more you give it spectrally, the more you get out of it. In songs with a bridge or slightly energetic second verse worked good for an overall baseline. Standard mode yielded very similar results that Speech mode with vocals as well but Standard really did shine with individual tracks. Instrument tracks saw a good benefit from Smart Mode as well, adding more fullness in guitars and removing resonances in snares. As a plugin on individual tracks, I say Smart:EQ+ is worth its weight in gold not only for the every day mix, but also for the budding engineer or professional on the go. This plugin does help shave off precious time on mixes no doubt. It’s almost like autopilot on EQ.
 
Some of the areas Smart Mode didn’t fare so well was on bus tracks and the master fader. When a great deal of frequency content is handed its way, it tends to not work as well. Don’t get me wrong, it still analyzes and suggests, but a lot more effort on the user’s part is needed to find the perfect spot to analyze. This isn’t necessarily Smart:EQ’s fault. Think about it – every part of a song has different instruments moving in and out and 30 seconds is a tough gauge for an entire song. What almost needs to happen is a “live” streaming mode where the EQ is making adjustments on the fly. This however would be pretty tough to accomplish in the grand scheme of things for a plugin manufacturer. Sonible is definitely headed down the correct path for this in the future but for now, we have a plugin that still performs and impressive feat.
 
Overall, I love the plugin. The combination of Smart Mode and adding bands to fill in the gaps the algorithm doesn’t detect seems to be a perfect pairing. If you go as far as have a little patience and a love for automation, the plugin could even analyze each section of a song to give you a slightly more dynamic form of Smart Mode. Ultimately, this plugin is staying in the front of the pack as far as my arsenal is concerned. I’m really excited to see Sonible push this innovative concept further in the future. Bravo!
For more information, and to purchase, visit http://www.sonible.com/smarteq/

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