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Universal Audio Moog Multimode Filter Collection

By
Bryan
-

Just like the new improved SSL 4000E Channel plugin has had an update, the Moog Multimode Filter Collection has as well.

Moog analog filters have long reigned supreme as the most musical audio filtering circuits ever devised. With its incredibly rich sounds and built in sequencing capabilities, the new Moog Multimode Filter Collection for UAD-2 hardware and Apollo interfaces represents a major advancement for electronic music producers and sound designers.

Built for modern sequencer-based song production, the new Moog Multimode Filter XL plug-in — a one year effort between Moog Music and UA — borrows from various incarnations of Moog designs, nailing the essential Moog filter character unlike any software emulation in history.

Along with numerous filter enhancements and an expanded Envelope control, the Moog Multimode Filter XL plug-in features an intuitive, full-featured, four-lane 16-step sequencer, giving electronic and dance producers unlimited creative potential, from melodic and polyrhythmic pattern programing to random chaos and cacophony.

The Moog Multimode Filter Collection also includes the Moog Multimode Filter Legacy Plug-In and its DSP-lite SE version.
*$99 upgrade price from Moog Multimode Filter Legacy plug-in.

Moog Multimode Filter Collection Key Features:

  • Improved nonlinear filter design including 1-4 pole Slope operation and 20 Hz to 20 kHz Cutoff Frequency

  • Lowpass, Highpass, Bandpass, and Notch filtering with self oscillation, saturation, and zero artifacts

  • Expanded Envelope Attack/Release control, audio rate LFO, and expanded Destination options

  • Dual LFOs with independent Rate and Waveform selections plus independent Tempo Sync/Tap Tempo

  • Full-featured, 16-step Sequencer with four assignable lanes with Sequence Length, Amount, Glide, plus global Sync and Swing

  • Original Moog Multimode Filter Legacy and DSP-lite “SE” version included

Price: $249.00 ($99.00 Upgrade for Legacy Owners)
Learn more about the Moog Multimode Filter Collection plug-in here:
www.uaudio.com/uad-plugins/special-processing/moog-multimode-filter-xl-collection.html

IK Multimedia Updates Amplitube for iOS

By
Bryan
-
Amplitube has become a staple among musicians on the go due to the iRig, giving a multitube (yep, multitube) of amps and effects right on your phone. Now they have updated their flagship iOS app with even more.
April 20, 2017 – IK Multimedia is pleased to announce that a free update for AmpliTube for iPhone® and AmpliTube for iPad® is now available in the App Store®. This update provides more included free gear with the full, LE and CS versions of the app, and adds the availability of Fender® Collection 2 for iOS to guitar and bass players providing them the widest selection of amps and effects on the go.
In the full version, this update adds 9 new bonus gear models right from the start, including 3 new amplifiers and 6 new stompbox effects to craft amazing guitar tones. New stompbox effects include the Swell volume modulator, an Electric Flanger effect, the Crusher overdrive, Dcomp compressor, Feedback distortion and Phazer10 phase pedal. New amp models include the British Copper 30TB based on one of the most popular vintage British combos ever, Vintage Metal Lead and the 360Bass amp, all with their matching cabinets.
 
The LE and CS versions are also loaded with a wide variety of gear and the latest update includes 4 new stompbox effects; Crusher, Dcomp, Feedback and Phazer10, plus two new amp models, the Vintage Metal Lead and the 360Bass.

With this update AmpliTube for iPhone and iPad reinforces its position as the most powerful and best sounding amp and effects modeling app available on mobile devices.
 
Not only does AmpliTube lead the guitar app category with a huge array of over 100 amps and effects, it is the only app featuring officially approved models from the most sought after iconic brands such as Fender®, MESA/Boogie®, Orange®, ENGL®, Soldano®, Marshall® and Ampeg® along with gear collections from artists like Slash and Jimi Hendrix™.
 
AmpliTube is also the ultimate mobile guitar tone playing and recording studio that includes an exclusive feature set that can’t be found anywhere else such as its hyper realistic cabinet section with 3D mic positioning, 8 track DAW/recording studio, 4 track looper, UltraTuner™ – the most precise guitar tuner available, a play-along section with solo cancellation and much more.
 
IK offers a complete “start to finish” music production system when used with the extensive range of iRig mobile guitar interfaces (such as iRig 2, iRig HD2, iRig Pro I/O) and controllers (like iRig BlueBoard) for iPhone, iPad, Mac® & PC.
 
Pricing and Availability
AmpliTube version 4.4 is a free update for existing users of AmpliTube.
 
AmpliTube for iPhone is available now on the App Store in 3 versions:
AmpliTube (full version) – $/€19.99
AmpliTube LE –  $/€2.99
AmpliTube CS – Free
 
AmpliTube for iPad is available now on the App Store in 2 versions:
AmpliTube (full version) – $/€19.99
AmpliTube CS – Free
 
Fender Collection 2 for iOS is available via in-app purchase for just $/€19.99, and individual amp models with matching cabinets start at $/€4.99 each. 
 
For more information, please visit:

www.amplitube.com/ios

Avid Pro Tools 12 Review Part 1 – Overview

By
Bryan
-

This is part 1 of a 5 part series that both explains Pro Tools 12’s features and reviews the software. Each week, a new part will be released, leading up to the overall review in part 5. Enjoy!
Part 1: Overview
So here I was, sitting in front of a DAW that was constantly locking up and spitting out “AAE Error -9173” within 10 seconds of pressing the space bar – even on moderate sessions. The DAW in question was Pro Tools HD 11.3. The hardware I was running was hardly the problem. After all, I had the latest and greatest retina MacBook Pro running HD Native through a Sonnet Thunderbolt chassis. Countless calls to tech support from both Avid and Apple subtly suggesting the other is at fault offered little help. I was left sitting in the studio with my cursor hovered over the “Buy Now” button of Logic. After 14 years of being a die-hard Pro Tools user starting with Pro Tools LE 5 and updating to nearly every major version ending up in HD11, I was at the end of my rope. Part of me didn’t want to switch due to the years of experience and familiarity; but the other part could not handle another day on a system that embarrassed me in front of clients and doubled the time mixes should have taken. I did however have one more version of Pro Tools out there to try, so I figured, “What do I have to lose”.
 
Two years ago, Avid kicked off Pro Tools 12.0 with more economical changes than operational and the subscription based service scared some users until pricing and perpetual licenses were announced. At first, nearly no changes were offered as far as functionality other than a few new I/O enhancements and an updated Application Manager. As time had passed, other DAWs had popped up, most of which started offering features that were making many long time Avid users feel the “itch to switch”. The phrase “I’m going to Reaper” started popping up on various forums. It had seemed that the Pro Tools ship was starting to take on water, with users jumping overboard. Even I was looking over the hand rail judging just how bad this jump was going to hurt.
 
Just when it looked like the Avid ship was sinking with version 12.1, subsequent releases started firing off updates left and right – each with major changes to functionality and features. Press releases starting showing off improvements and versatility much quicker than in the past. Avid claimed this new streamlined method of rapid releases was due to the new subscription model. Either way, it seemed someone started bailing water out of our metaphorical ship. This brings us up to Pro Tools 12.7. Since Everything Recording has not reviewed the DAW since HD11 (Review Link HERE), we will focus this series on the changes of 12 all the way up to the current 12.7. Let’s see if the leak is plugged.
 
The biggest change in the Avid business model has to be the “All Access Plan”. Similarly to the Waves update plan, Pro Tools Standard (non HD) and HD can now be leased and tech support can be accessed during the duration of the lease. Just be warned, even though tech support is being paid for, it is still painfully slow. I had to call several times to get a simple answer back. You’re almost better off buying the software through a retailer like Sweetwater and depending on them for help. I had a simple answer on a Digilink License solved within 2 hours with Sweetwater – It took Avid 3 days. Even though the customer service is still lacking, the subscription based service is actually a useful option. In some cases, as the project progresses, some tools are needed while others can be scaled back. The All Access Plan even includes a lot of extra plugins during the contract.
 
The ability to choose which version for a period of time helps smaller studios that may need HD features temporarily. The only shortcoming in the subscriptions is that HD subscriptions cannot be bought monthly, but perpetual licenses are available. Just be prepared for sticker shock. At the time of this review an HD perpetual license is $2499. It may sound like a huge price, but go price out other industry standard DAWs like Nuendo. It’s not necessarily a special club for the rich, but it is a high end version of a very widely used tool that has a more cost effective version as well. It would be helpful however if discounts on multiple licenses or subscriptions were offered.
 
The way HD software is purchased solely now is due to the new separation of Avid hardware and software. Now extra HDX cards can be bought at a lower price because Pro Tools HD licenses do not have to be purchased as well, but because of this break up in hardware and software, an extra $300 Digilink license will have to be purchased. Even though this may seem like Avid is bleeding your wallet by making you buy a license to use their own hardware with software, they have offset this cost by dropping the price of Avid interfaces. Although separating Pro Tools from hardware is great, it is sad to say that exchange options are no longer available. Instead, subscriptions can be extended in exchange for trading in old hardware.
 
In order to better accommodate the new structure of Pro Tools’ constant changes in software and managing subscriptions, the Application Manager has been completely overhauled. The older version in 11 would usually only let you know that a new version of “software” was available. It really didn’t give you much options for action. Now the new and improved version handles subscription info, alerts you to any updates, and manages all downloading and installation of any updates. It even has a news section that alerts to new deals and news in the Pro Tools universe. Despite the Manager being a huge plus and helping avoid having to track down and install updates manually, an option to prevent it from opening at startup would be nice. It is easy enough to check every once in a while manually in most cases.
 
On top of the Application manager, Pro Tools now has become smarter with plugins used in a loaded session but not installed on the user’s computer. If a plugin is detected that is not in your stash, Avid will search their Marketplace and if available, will offer purchasing and installing through Pro Tools without having to restart the program. This feature can also work if a new plugin in the Marketplace just wants to be purchased or rented.
 
Yes, the Marketplace has a decent selection of available to purchase plugins, but don’t expect them to have them all. This would be a daunting task but as this Marketplace expands, more manufacturers will see the benefit to customers. Alternatively, since it has now been proven that Pro Tools can handle automatically adding plugins purchased in the Marketplace, this feature should extend to any plugins installed while Pro Tools is running. I get this encourages to buy through Avid Marketplace, but like was stated before, not all manufacturers are there yet.
 
Upon booting Pro Tools, the first new face to greet is the Dashboard that takes the place of the old Quick Start Dialog. Dashboard is a cleaner more refined window that allows for creating sessions at a glance as well as opening and saving templates. In version 12.5 and above the Dashboard also serves as the gateway for the Cloud Collaboration feature with the “Projects” tab.  On top of easy session creation and management, Pro Tools 12 now supports entering metadata into sessions. This is helpful when working with multiple engineers to leave session info, I just wished it was slightly more expanded with an option for session notes. Honestly, the Metadata section is sort of buried in its current state and would be even more useful if integrated into the Dashboard (i.e. incorporating the ability to enter metadata when creating the session initially).
These updates do improve the utilities of Pro Tools and adds ease of access but for most users, it all boils down to performance and features. Some parts of the new subscription based service and separation of hardware allow for more options in purchasing Avid hardware and software without breaking the bank, but there is still some parts of this system that could use a little help. Overall it does appear Avid has started steering the ship in the right direction. In Part 2 we will dive into all of these new updates and features Pro Tools 12 has to offer. Stay Tuned…

Universal Audio SSL 4000E Channel Strip

By
Bryan
-

With improving modeling software and upgraded DSP with UAD-2, the SSL4000E Channel Strip has been upgraded even more. The classic console desired by many, is now more faithfully updated.

Introduced in 1979, the SSL 4000 E console brought a modern sound to the world, powering more platinum-selling records than any other. Its bold, punchy character and incredible dynamics has made the SSL 4000 a true industry standard and a bastion of modern recording.

In close partnership with Solid State Logic®, Universal Audio proudly unveils the all-new SSL 4000 E Channel Strip Collection for UAD-2 hardware and Apollo interfaces — an exacting end-to-end circuit emulation that goes far beyond UA’s original standard-defining SSL 4000 E Channel Strip plug-in.

UA’s team of engineers dug deep into the SSL 4000 E hardware, faithfully modeling the original preamp’s Jensen input transformers and dbx “gold-can” VCA output section. By capturing the preamp’s signature nonlinear amp behaviors, the new SSL 4000 E Channel Strip Collection offers all of the expansive, punchy, deep, assertive character of the original hardware.

Owners of UA’s acclaimed Apollo audio interfaces can track in real time with SSL’s vintage analog channel, like having the original hardware. The SSL 4000 E Channel Strip Collection plug-in also supports Universal Audio’s Unison™ technology, giving Apollo users the SSL 4000 E’s all-important impedance, gain staging, and circuit behaviors that have contributed to making it a legendary hit-making console.

*$149 upgrade price from legacy SSL E Series Channel Strip plug-in.

SSL 4000 E Channel Strip Legacy Plug-In Key Features:

  • An authentic end-to-end circuit emulation of SSL’s iconic analog channel strip exclusively for UAD-2 and Apollo interfaces

  • Includes Jensen transformer and Input amplifier modeling and other nonlinear circuit behaviors

  • Exacting nonlinear circuit emulation of both Type E “black” and “brown” knob channel EQ and filters

  • Flexible VCA Compressor range, from transparent to “in your face” aggression

  • Unison technology for Apollo interfaces offers authentic tone, touch, and feel of the SSL 4000 E’s preamp including precise impedance matching

  • DSP-lite SSL E Series Channel Strip Legacy plug-in included

 
Price: $299 ($149 Upgrade from Legacy)
Learn more about the SSL 4000 E Channel Strip plug-in here:
www.uaudio.com/uad-plugins/channel-strips/ssl-4000-e-series-channel-strip-collection.html

Kemper Profiler Michael Britt Rig Pack

By
Bryan
-

Companies like Line6 have existed for many years, trying to emulate the great guitar amplifiers and even though they come close, something is just missing. Kemper shows up and blows the doors off with a whole new approach to getting the perfect amp sound in a digital domain. I know a few people who own one and I’m contemplating pulling the trigger but even as great as this new tool is, getting the perfect sound isn’t necessarily as easy as it is made out to be. Enter Michael Britt… He has single handedly mastered the art of Profiling and has released countless profiles and now he’s made an official free pack of profiles on Kemper’s website. Enjoy!

With the advent of the Profiler, some might think that getting the sound of a guitar amp into the digital domain is easy now, and that basically anyone can do it: just order a head from a retailer for 30 days, profile, and send it back, right? Well, this may work for some people but, to be honest, the real art in designing sounds for guitarists is about far more than just the electrical devices you happen to use.
When a great chef prepares a culinary masterpiece, they’ll need knives, various other tools and of course the ingredients. But what determines the quality of the result – i.e. the plate of delicious food – is about so much more than just equipment and ingredients.
Let’s just do a breakdown of all the elements that go into making a great profile, and a great guitar sound: We start with an idea – someone needs a certain sound, and they have an idea about how they want to achieve it. A guitar sound consists of a player, a guitar, pickups, a cable, maybe a stomp box (drive, eq, buffer, etc.), an amp, a cabinet, certain speakers in that cabinet, a room for the cabinet to breathe in, the best position for that cabinet in the room, a microphone or a selection of microphones, and the positions of the microphones in front of the cabinet and in the room. Then the mic feed goes into a preamp – shall we use compression, or no compression? And what about EQ settings? So, here is your guitar sound, right? No, not yet, because now every single one of these ingredients has to be adjusted individually – and here is where the human factor kicks in.
There is at least one person that puts all the above ingredients together, and this person has to decide which guitar to use, which pickup to use, define the tone settings on the guitar, and adjust the pedals in a certain manner. Then you try and listen. Maybe ask a friend, a buddy, an engineer? Their opinions are important, as is their taste, and where they are coming from.
Now, you get where we are going here – this guitar sound you are about to profile already consists of so much more than just an amp and the Profiler. If you were to provide the same set of gear to various people you will likely get very different sounds from each of them – because it is the human factor that determines the kind of sound that will end up in a profile. And then, even after all of this, you will still only have a raw profile – you won’t have a Rig yet. Now, you need to decide what kind of further tone-shaping should happen. Let’s not get into the unique possibilities with the Profiler to fine-tune profiles with the amp parameters, here. That is a whole other dimension. So, let’s just skip to the conclusion: A great guitar sound is about the cook(s) that put the environment together, select and adjust the ingredients and – last but by no means least – the players themselves. How someone works the strings with a pick, a tap, a strum and with what kind of guitar… you get the idea.
Here is the list of MB Rig Pack’s included Profiles/ Rigs
Rig Name                                Name of profiled amplifier*
MB – /13 JRT9/15 4 M            Divided by 13 JRT9/15
MB – /13 JRT915 84 3             Divided by 13 JRT9/15
MB – /13 LDW39 2.2-              Divided by 13 LDW39
MB – 3P Britt Solo-                  3rd Power Dream Weaver prototype
MB – 3P Plexi Klon 2.1-           3rd Power Dream Weaver prototype
MB – 56 Fan Pro 8*                 Fender Pro ’56
MB – 56 Fan Twins j5 R          Fender Twin
MB – 62 Band Mister ROTO-  Fender Bandmaster
MB – 62 D’Lux 6                       Fender Deluxe ’62
MB – 65 Champion 5 3            Fender Champ ’65
MB – 65 Fan BM Tim             Fender Bassman ’65
MB – 69 Mars 50 9 3               Marshall JMP 50 1987
MB – 69 Mars 50 V3T              Marshall JMP 50 1987
MB – 70 Mars SL 3                  Marshall Super Lead 100
MB – 74 Champion 3               Fender Champ ’74
MB – 79 Mars MP 3                 Marshall JMP 50 1987
MB – Bleatch Fire 45               Tim-Bletchley Belchfire 45
MB – Bogus Spirit B 8             Boggy Soul 30
MB – C Ton SRV 5 S                 Ceriatone Overtone Special
MB – Car Slant 6V 1-               Carr Slant 6V
MB – Colony 2 9                       Heritage Colonial
MB – Dirt Shirt Lo 3                 Friedman Dirty Shirley
MB – Dr. X Crash 2 3                Dr.Z Z Wreck
MB – Dumb ODS FB3              Dumble Overdrive Special
MB – Fried Man 4                    Friedman Brown Eye
MB – Fux FH50 Cln 2 B 2         Fuchs Full House 50
MB – Fux FH50 OD 2 Bst         Fuchs Full House 50
MB – Guy Ton V30 B3             Guytron GT 100
MB – Headstrung Queen*-      Headstrong Lil King
MB – Kranker Rev Jr 1 8          Krank Rev Jr
MB – Little Water 22 3            Little Walter 22
MB – Marlon A 1                     Wizard Modern Classic
MB – Mars J800 1 5 2              Marshall JCM800 100W
MB – Mars Silvie Jubi 1 8        Marshall Silver Jubilee RI
MB – Mars Silvie Jubi 2 6        Marshall Jubilee 2553 1987
MB – Mars TM45 SAO 2          Britsound JTM45 Tribute
MB – Matchbox JJ 3-               Matchless John Jorgenson
MB – Metropol 2203 1 4         Metropoulos 2203 100W
MB – More Gain SW 2             Morgan SW50R
MB – Pea V Mace 1 4              Peavey Mace
MB – Polly Ton MB N6 Polytone Mini Brute 3
MB – Rock Woman 3 2            Scholz Rockman Sustainor
MB – Sold Ammo 1 7              Soldano Hot Rod 50
MB – Tweed Champ 4 5F1      Champ clone
MB – Vibr. Queen F1               Fender Vibro-King
MB – Victor V50 2 6                Victory V50 Earl
MB – Voice Ace 30 4 Klon       Vox AC30TB
MB – Voice Ace 50 K2             Vox AC50
MB – Voice NT 5                      Vox Night Train 15
MB – X-it X50S 3-                    XITS X50S
*All product names and company names are trademarks of each respective holders. Kemper GmbH is not associated or affiliated therewith. These product names are used solely for purpose of identifying the specific products, Kemper Profiler has been operating with. 
This is why we are so excited about the new Kemper Profiler Michael Britt Rig Pack, because Michael Britt is known the world over for his great sounding, tasty Rigs.

Available for you to download immediately – visit the download section on the Kemper website and check it out: https://www.kemper-amps.com/downloads

Audified TNT Voice Executor Plugin

By
Bryan
-

For a lot of voiceover professionals, efficiency is the key to quick deadlines without sacrificing quality. Audified TNT Voice Executor provides the very solution to both speed and quality on your speech tracks.

BOSKOVICE, CZECH REPUBLIC: host application and audio effects developer Audified is proud to announce availability of TNT Voice Executor — a unique utilitarian plug-in offering no-nonsense processing of vocal and spoken word tracks to sophisticatedly solve any issues instantaneously — as of March 1…
By their very nature, human voices are complex mechanisms; marvellously, we can recognise individuals from their vocalisations — be that spoken word or otherwise. Obviously we all sound different, so it stands to reason, therefore, that when recording and broadcasting vocals or spoken word we need to treat them differently by appropriately applying effects to suit individual voices to get them sounding perfect. Problem is, though, that takes time and effort. And in today’s time-stressed production climate that’s a luxury many of us no longer enjoy — exactly the dilemma faced by TNT Recording and Postproduction Studios owner Tomáš Trkal. Unlike most mix engineers, however, as a software programmer he had the talent to do something about it. Well, wouldn’t you do something similar if what you wanted didn’t commercially exist? Enter TNT Voice Executor, a unique utilitarian plug-in named after that studio, offering no-nonsense processing of vocal and spoken word tracks to sophisticatedly solve any issues instantaneously.
While we all, ultimately, have Tomáš Trkal to thank for TNT Voice Executor, it’s timely arrival as Audified’s latest product took a little time and effort on its instigator’s part, of course. “Often clients want to have the final mix of a song right after recording, which is unrealistic in most cases, so I was in need of something that I could apply to recorded raw vocal tracks, set one parameter, bounce the song, and give it to the client within minutes,” he explains. “I programmed something suitable and started using it, but when I started studying software programming at Brno University of Technology my teacher put me in contact with Audified CEO Lubor Prikryl. When I demonstrated my plug-in for him, he was so impressed that Audified decided to release it for all major formats, adding some professional standard features, such as metering and calibration to move the product forward.”
Fortunately for the rest of us, thanks to this fortuitous meeting of minds, TNT Voice Executor effortlessly does what it says on the tin. No questions necessary. Needless to say, the finished product is unquestionably easy on the eye, yet there are actually multiple effect modules making this time-saving tool equally easy on the ear. EQ, DRIVE, and DELAY are all present and accounted for alongside complete dynamics controls. Continues its instigator: “The plug-in consists of eight processing modules — noise gate [GATE]; high-pass filter; compressor [COMP], with up to three active instances of compressor with different settings in one module; 4-band parametric [EQ]; distortion [DIST]; stereo image enhancer [STEREO]; DELAY; and limiter [LIMIT] — that I typically use when mixing vocals. I’ve treated those modules very carefully, preparing lots of super-usable presets in collaboration with Audified Sound Designer Jarek Musil to satisfy the user’s needs. In short, this plug-in is designed to get a great sound as quickly as possible.”
Put simply: getting a great sound with TNT Voice Executor couldn’t be simpler. Simply select a preset then use the three knobs to set the INPUT and OUTPUT volumes (using the I/O meters), tweak the DRIVE (effect) amount, and you’re good to go! Gathered into four groups, each preset contains several variants for both male and female voices. The right-side of the plug-in’s crystal-clear GUI (Graphical User Interface) simply shows which effects are engaged and how much gain is being reduced. Really, it’s as simple as that. No other controls are available (apart from some advanced calibration settings ‘hidden’ in the service menu).
Might you need TNT Voice Executor, then? The answer to that quick question is simple: if you’ve got a microphone and record vocals and/ or spoken word then you’ll find it invaluable. Applications include editing audio books, v-log posts, YouTube videos, podcasts, advertisement voiceovers, television trailers, newscasts… the list goes on. Put it this way: wherever the human voice sounds, TNT Voice Executor makes it sound better in next to no time with a no-nonsense approach to processing par excellence.

TNT Voice Executor is available to purchase as an iLok-protected plug-in — running as an AAX, VST3, and VST2 plug-in on Mac (OS X 10.9 – 10.12) and PC (Windows 7, 8, and 10) and AU on Mac — at an introductory price of $49.00 USD until March 19, 2017 (rising thereafter to $69.00 USD) from Audified’s online shop here: https://shop.audified.com/products/tnt-voice-executor
TNT Voice Executor is available to download directly from Audified from here: http://services.audified.com/download (Please note that iLok dongle hardware is not needed for either the 30-day trial or full version of TNT Voice Executor — simply create a free account and install PACE Anti-Piracy’s iLok License Manager from here: https://www.ilok.com)

Review: FabFilter Pro-R Reverb Plugin

By
Bryan
-

The landscape of reverb plugins is getting more densely populated by the day. It seems every virtual synth designer has ported the reverb module from their virtual instruments into a plugin form. With impulse response libraries, algorithmic models, and digital creations of vintage hardware units, it seems there’s really no more ground to cover. Not so fast. FabFilter is throwing their hat in the ring with Pro-R.
 
What sets FabFilter apart from other plugin designers is simple: this company takes intricate controls and unique features and places them in an easy-to-use, brand distinct minimalist interface. Pro-R follows this formula along with both old and new tricks only FabFilter can put together. The result is a reverb plugin that plays by its own rules. FabFilter Pro-R is an algorithmic reverb that caters to creating the exact space desired. While algorithmic versions are mainly created to make natural sounding spaces, this plugin has some features that look appealing enough to create both natural and other-worldly effects. This is perfect given that I still haven’t found a plugin that can create the ideal room reverb setting I have in my head. Fingers crossed this one works.
 
The interface is very familiar for any FabFilter user. Like all other plugins, Pro-R exists in a resizable Retina interface complete with easy to read metering, controls, packed neatly into the GUI. Most of the normal features exist in the same position as other plugins, making adapting to new controls easy. Even the reverb specific controls and meters are laid out in a manner than almost any person familiar to working inside of a DAW can start tweaking controls fast and effectively. Instead of relying on only a number system, each control uses descriptions primarily with number controls being secondary. Visual feedback is a must with any reverb plugin and all settings that need feedback are displayed prominently. FabFilter really take the intimidation factor out of the reverb experience.
 
Yes, this plugin has your typical Pre-delay, Mix, input and output controls, but right in the top middle, a knob bigger than the rest prominently rests. The Space Control knob is a stepless knob that relates the room model (displayed by shapes in yellow) with the ideal decay time (from 200ms to 10second decays). Unlike other reverbs that switch solely between a types of environments, the lines are blurred between spaces to give you the best of both worlds to create the exact space you desire. These decay times are perfectly matched to the room models and cannot be unlinked (although I bet it would be fun to have an option to unlink the two for less natural sounding reverbs). Once the space is determined, the Decay Rate can be used to trim the percentage of decay within the model. This control in combination with the Space control make up the final decay time that is calculated and displayed in the center of the Space control. This value changes as you alter Decay Rate and Space control respectively.
 
Distance from the source can also be adjusted with the Distance control and like all reverbs, mix is controlled with the Mix knob that can be locked from preset to preset to maintain the exact mix setting needed for the track. While we’re on the basic controls, the pre-delay is either time or tempo selectable which makes adjusting pre-delay to the rhythm of the song simple. Once the rhythm based setting is selected, the precise rhythm can be altered with the pre-delay knob. This makes adding just the perfect amount of rush or drag to the pre-delay setting. I just wish the pre-delay “lock” button would lock settings from preset to preset. Once these foundational settings are configured the fun begins.
 
The Stereo Width can span from pure mono, stereo, and even more. Starting at 0% mono, the cross channel feedback is introduced into each side until at 100% the signal behaves like multi-mono. Brightness works slightly different from other reverbs by allowing for boosting of the high frequencies as well as changing the decay of the high end. Character induces modulation to give the reverb extra dimension and movement. This can also be used for an ethereal chorus effect in the reverb tail. All of these features alone make this reverb extremely powerful but like everything FabFilter releases, the envelope has to be pushed. This is where the EQ features come in.
 
Placing an EQ after a reverb is a must in most mixing situations and most reverbs come with basic EQ settings for high pass, low pass, and a sweepable band or two. Pro-R borrows pages from their award winning Pro-Q2 (review HERE) and contains up to six bands of post EQ, each with a choice of filter type and slope. To make matters easier, Pro-R will compensate for gain changes so extreme boosts or cut will not affect your mix setting. Bands are created by double clicking the yellow line in the analyzer and many shortcut clicks (command, control, alt, and shift) assist in making fine-tuned adjustments a breeze. Although the post EQ is pretty standard in reverb plugins, FabFilter can’t just leave you with the norm. This is where Decay Rate EQ comes in.
 
It’s great that post EQ can tame resonance or boost a particular frequency in the spectrum but this usually causes the actual reverb tail to suffer. Decay Rate EQ works similarly to the post EQ to allow for increasing how much of a particular frequency’s reverb tail is heard. By clicking the blue line in the top area of the analyzer, up to six more bands can be added that control reverb tails using the very same type of controls as an EQ. Shelves, Bell Filters, and even Notch filters are incorporated into the Decay Rate EQ to allow for limitless possibilities. The world is your oyster.
 
All of these controls are useful in their own right but wouldn’t it be useful to see a graphical representation of your reverb in one window? The very same section that hosts the Post and Decay Rate EQ contains a very unique analyzer. On top of the analyzer displaying post-EQ’ed audio, a ghostly looking yellow haze will appear behind the output meter, giving instant feedback on how the reverb is responding to the audio. Clicking the square in the top right of the plugin window activates full screen mode which allows for full use of the analyzer’s power. From this window, precise reverb tails can be easily adjusted and analyzed, bridging the gap between ease of use and technical precision needed in this industry.
 
In operation I found Pro-R to be absolutely brilliant. The controls are extremely familiar, the interface sleek and efficient, and presets were a great starting point for getting the exact sound I wanted. Being able to seamlessly pick the size of the space without switching through predetermined models gave off the feeling of complete control. There really wasn’t a setting that even sounded remotely bad in any way. The plugin allows reverb to be as transparent of effected as needed. Although I don’t have one complaint about Pro-R, I did find myself wanting a few tweaks and features. Since chorus is already added with Character, EQ is added using Pro-C2 controls, I REALLY wanted to see the option to add in a variation of FabFilter’s Saturn distortion plugin. Subtle saturation in reverbs have been a trick of many pros and I’ve adapted it almost exclusively. That option with some of the same dynamics controls in Saturn would make this reverb a completely autonomous space processing tool. That being said, just go buy Saturn too (Review HERE) and be done with it! Pro-R is easily one of the most flexible, easiest to use plugins on the market and easily Everything Recording’s official “Reverb Plugin of 2017”.
 
For more information, and to purchase, visit http://www.fabfilter.com/products/pro-r-reverb-plug-in

StudioLinked Zaytoven's Funky Fingers Plugin

By
Bryan
-

Zaytoven is a monster when it comes to producing some of hip hop’s greatest hits. Now he’s given us a peek inside the workflow and mind of a beat making genius.

BOZEMAN, MT, USA: urban and contemporary music virtual instrument creator and distributor StudioLinked is proud to announce availability of ZAYTOVEN’S FUNKY FINGERS — a dynamic virtual instrument influenced by the signature sound of GRAMMY® award-winning American record producer, DJ, and pianist Zaytoven, aimed at aspiring producers and budding beat-makers — as of February 10…
Asked about the motivation behind the creation of his virtual instrument namesake, Zaytoven himself has this to say: “I just took everything I learned over all of the years of making beats and playing piano, and put it into this virtual instrument engineered with the modern producer in mind.”
Mindful of that very thought, no fewer than 500 Zaytoven-influenced presets are available across 17 instrument categories, including CHORDS — with numerous church chord combinations, such as major and minor sevenths, ninths, and tritone substitutions that are perfect for those looking to add a little soul or gospel to their productions; KEYBOARDS; LOW END BASS; OJ Da Juiceman Chants; ORGAN RUNS — organ patches quickly rolling across several notes into a minor chord, which is exactly what many producers who have followed Zaytoven’s career have been waiting for; SUBS & 808s, and much more. Drum kits are accessible in the DRUM section where StudioLinked has helpfully placed one-shot drum samples across each key on the keyboard, as well as the first ever hi-hat stutters and snare rolls, making it even easier to achieve advanced drum programming techniques commonly found in today’s music.
Moreover, users can craft their own original sounds, speedily accessing various controls, including Attack, Decay, Sustain, and Release; Glide; Low, Low Mid, High Mid, and High EQ; TRANCE GATE; CHORDS; LOW PASS and HIGH PASS filtering with Resonance; ARP (arpeggiator); and effects such as Reverb, Chorus, Pitch, Phaser, and Tremolo. Dig deeper, though, and there’s a whole lot more to ZAYTOVEN’S FUNKY FINGERS than might first meet the eye, thanks to its eye-catching GUI (Graphical User Interface). Indeed, StudioLinked’s research and development team decided to hand-code this virtual instrument using C++ and the JUCE framework, having worked with Zaytoven for months, designing and engineering instruments that were similar to his signature sound.
Stopping there was not an option, however, as StudioLinked set about incorporating features and functionality that will inspire future generations of beat-makers to develop their own original sound. Speaking of which, one of the company’s collective favourite moments during the creation of its latest virtual instrument was being in the studio with recording artist OJ da Juiceman, recording signature ad libs and chants that can only be found in ZAYTOVEN’S FUNKY FINGERS, time-stretched and mapped across the keyboard to make it easy to control each recording — just like any other instrument.
Since StudioLinked is known for adding unique vocal runs in products like its (Mac- and PC-compatible) standalone PURE plug-in workstation, why not do something similar with ZAYTOVEN’S FUNKY FINGERS yet take it to another level given that it represents the company’s biggest project to date? Why not, indeed! It was decided, therefore, to also have Zaytoven artist Arryet Love record some amazing vocal runs and place them into the virtual instrument itself (as Arryet Vox Runs). Meanwhile, MELODY STARTERS sample tons of Rhodes-played, pre-made melodies that are helpful for sparking inspiration.
Inspiration is now available at a pocket-friendly price to aspiring producers and budding beat-makers everywhere, thanks to ZAYTOVEN’S FUNKY FINGERS. “I remember back in the day in my bedroom when I just had a keyboard — not even really a drum machine, and I wanted to make beats,” backtracks Zaytoven. “I would listen to the radio, listening to all the sounds, and I was, like, ‘Man, ain’t ever gonna be able to make beats sounding that good, because I don’t have the tech and sounds that those guys are using to make it sound so good.’ So that’s really why I came up with my own plug-in. This is just something to spark creativity right now, because sound has always inspired me to make beats — from the piano riffs to auto-organ and church organ that I like to use… it’s all right here, man! Right here for you to grab, so make sure that you get it — FUNKY FINGERS!”
So there you have it — right from the maker’s mouth. Go get yourself ZAYTOVEN’S FUNKY FINGERS and ignite that creative spark… with a little help from your friends at StudioLinked and one of the best beat-makers in the business. Bet your bottom dollar, then, that StudioLinked’s biggest project to date is finger lickin’ good while more than living up to the company’s tagline: We Make What You Want To Hear

 

ZAYTOVEN’S FUNKY FINGERS is available for online purchase directly from StudioLinked — as a 32- and 64-bit AU and VST plug- in for Mac and PC — for $249.99 USD from here: https://www.studiolinked.com/product/vstplugins/zaytoven-funky-fingers/
For more in-depth information, please visit the dedicated ZAYTOVEN’S FUNKY FINGERS webpage here: https://www.studiolinked.com/product/vstplugins/zaytoven-funky-fingers/

TONE2 Trance & EDM soundset for Icarus

By
Bryan
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Icarus is an incredibly powerful synth that is like no other. Now Tone2 has released the Trance and EDM soundset for Icarus.

Huge supersaws, earth shattering bass and epic melodies. This set takes advantage of Icarus’ powerful oscillator section and wavetable capabilities to deliver high powered sounds, which can act as the driving force in your productions. Whether you’re looking for soaring leads, fresh synths, inspiring arps, vocal cuts, booming bass, crisp plucks or intense effects – it’s all here!.
 
Highlights

  • 210 sounds created by professional sound designers
  • Utilizing Icarus’ powerful stereo hypersaw capabilities
  • The patches contain a large number of new wavetables and waveforms
  • Comfortable installation
  • Seamless integration into the user interface
  • Uses the new features of Icarus v1.1 or higher
  • Only high-quality content, no ‘gap filler’ patches
  • All sounds are properly programmed, they are ‘not just samples’. The benefit is a larger dynamic range, more expression and the highest possible sound quality.
  • All presets can be altered with the mod-wheel

Genres
This set is suitable for Trance, EDM, House, Hardstyle, Dance, Synthpop, Trap, Rave and many other electronic genres.
Professional sound design
This soundset supports modwheel and velocity. For instant usability the volume of all sounds has been normalized carefully. The sounds have been created by a team of professional designers: Troels Nygaard, Markus Krause, Denis Baranov, Maliki Ramia, Nathan Fox and Sebastian Weaver.

 
For more info please visit the product page: https://www.tone2.com/html/trance%20-%20edm.html

UVI UVS-3200

By
Bryan
-

The Korg PS-3200 is a classic  synth. UVI have released their new virtual instrument based on this great synth.

Paris, February 16th, 2017 – UVI releases UVS-3200, a new library featuring sounds from the rare Korg PS-3200, a semi-modular 48-voice polyphonic analog synth manufactured in limited numbers during the late ‘70s. The PS-3200 featured a remarkable architecture for the time, providing 2 VCOs each with its own VCF and LFO per-voice across 48 voices with preset recall. Capable of everything from meaty analog bass lines and acid leads to rich pads and complex evolving timbres, the PS-3200 provides a wealth of sound design inspiration, rich with the warm character of golden age analog.
UVS-3200 features a 2-oscillator design providing users with a large selection of presets to build patches with. Each oscillator has a configurable amp, filter and stereo section along with a customizable 16-step arpeggiator. UVS-3200 also includes versatile modulation and effect sections allowing users to easily add movement to their sounds and add high-quality reverb, delay, chorus, phaser and drive, as well, a handy modwheel editor allows quick mapping of commonly reached-for parameters like vibrato and filter depth.
Over 220 patches with the authentic sounds of the Korg PS-3200 are provided. A versatile collection covers everything from classic to modern styles, including arpeggios, bells, brass, bass, chords, keys, leads, pads, plucks strings, sweeps and more. Patches can be quickly browsed and even layered together to create a near-limitless variety of stacked sounds.
Presets in UVS-3200 can be further edited through a vintage-styled interface providing the inspiration of hardware with modern software controls, allowing users to make everything from subtle mix-based adjustments to creating completely new patches quickly and easily.
UVS-3200 offers native 64-bit standalone operation by way of Falcon or the free UVI Workstation, providing comprehensive support for all modern DAWs and simultaneous authorization on up to 3 computers or iLok keys.

Pricing and Availability:
UVS-3200 is available immediately at an introductory price of $49 / 49€ through March 1st, 2017 (regularly $79 / 79€) from authorized dealers and the UVI online shop.
Additional Information:
Additional information on UVS-3200 is available at:
https://www.uvi.net/uvs-3200.html

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