Warm Audio has returned with another rendition of one of the most used compressors in the history of recording. The WA-2A, as the name gives away is a true-to-life version of the LA-2A, a tube leveling amplifier that has showed up on countless recordings. Known for its use in smoothing out vocals, solidifying bass, and bringing life to pretty much anything that can be recorded, the LA-2A is a perfect tool for the home studio and major league recording company alike. The problem being with the former is the price tag and maintenance cost of vintage versions leaving the engineer on a budget out in the cold. Bryce Young, founder of Warm Audio has solved this issue with the 1176 based WA-76 (review HERE) and the Pultec based EQP-WA. Let’s see if he can pull it off again.
Despite the ridiculously low $899.00 price tag, it doesn’t appear that the WA-2A’s internals suffered cutbacks. The inside features discrete, class-A, all tube circuits on a hand populated board, custom made CineMag transformers, and a socketed Kenetek T4B module. The WA-2A operates on two 12AX7s, one 12BH7, and one 6P1 mini power tube. Although the vintage models use the 6aQ5, scarcity has caused this model to use a different power tube. The tube used by Warm Audio was very similar and even can be replaced by an original 6aQ5 if you track down a working model. I would venture a guess to say that it would not change the sound of the unit by a discernable amount but if you want bragging rights to your girlfriend, go right ahead. Another bonus Bryce added into the WA2A involves the optical attenuator. Again, if you feel nostalgia coming on, an original T4A, B, or C can replace the Kenetek model. This can actually change the characteristics slightly and would give your unit a distinct sound.
Most of us know the interface of the LA-2A, therefore controls do not warrant much discussion. It is recommended to leave an air gap between other gear in your rack. On top of providing air to the unit, the vent grille’s in the top glow a slight blue from the inside. The WA-2A contains almost the exact controls on the front side as the LA-2A: A Limit / Compress switch, Output Gain, Peak Reduction, Metering Settings and Power switch. What makes this version slightly different than most lies in the back panel.
Like the vintage model, the rear panel features a grounding lug. Even though the grounding pin of the AC power cable should handle the grounding, the lug is still there for legacy compliance. The Meter Adjust knob is used to calibrate the VU meter. Upon initially unboxing the unit, it is recommended to calibrate the meter to read zero. In order to do this, the unit must not be stereo linked, any cables plugged into the inputs or outputs and the gain and peak reduction must be turned to zero. Once the Meter Select switch is set to gain reduction, twist the Meter Adjust knob until the VU meter reads “0”. Because of the design of the VU meter and photo cells, the meter can drift at times. This is due to the discharge of energy in the photo cells. If the meter is reading off from zero upon powering, give it 10 to 20 minutes to allow everything to balance out. Continuing the true-to-vintage design, the WA-2A features a knob that would be even more useful on the front. The Pre Emphasis knob works similarly to a tilt EQ on the sidechain detector. Move the knob counter clockwise and the detector will be less sensitive to high frequency transients. Turn the knob clockwise and the detector will react less to bass frequencies. This knob can be used creatively to sculpt how the compressor reacts to its material. Even though the EQ doesn’t show up in the audio signal, the influence the compressor has on frequency content can shape the tone of the track.
Similar to the WA-76, the WA-2A features the stereo link option whereby a TRS 1/4 “ cable can blend the sidechain signal across both units for a more balanced dynamics control across the stereo spectrum. On top of this traditional use, two units can compress based on the sidechain input of just one unit. This can be used to “duck” the audio signal. Although the sidechain detector works across both units, both compressors must be independently set to maintain stereo balance. One WA-2A cannot control settings for both units. Although it would be convenient to control the stereo compression via one unit, the flexibility of using stereo units can still be very useful. Calibration for stereo use requires a slightly different method and must be performed consulting the extremely easy-to-use included manual.
On top of these controls, the back panel features both transformer coupled balanced input and output in both TRS and XLR. These two connections per input and output are wired in parallel but it’s best not to use both XLR or TRS at the same time on either connection.
As you can see, the unit is fairly straight-forward with a few unique tricks. But how does it sound?
As a test, I essentially tracked an entire song using the WA-2A on every single channel. Functionally, the controls feel great. The knobs don’t feel cheap and dialing in precise settings are very simple. Like I stated before though, I did wish the Pre Emphasis knob was more easily accessible as I was adjusting it per instrument. On bass, the WA-2A was able to tame the low end without distorting of losing the bottom part of the signal. This was made even easier with the Pre Emphasis pushed to cater more to high frequencies. Using the same settings with Pre Emphasis pushed a little further, I was able to compress the higher frequencies a little more than usual to smooth out harsh acoustic tracks. This made the acoustic guitar bloom a little more in the low end while taming the highs. I even used it on a mono room mic for drums where I reamed the transients. The WA-2A handled all the material giving me exactly what I wanted without too many artifacts. Even electric guitars benefitted from some subtle love, mainly just running the track through the WA-2A to get some transformer vibe from the CineMags. Finally, vocals were immaculate with the WA-2A. This unit shines on vocals taming the highs while handling the transients with ease. I paired it with a Blue Robbie preamp and put it up against my Universal Audio LA610 where it added a little more detail to the top end of the vocal track. Although I didn’t have two units, I could guarantee this unit would spice up any virtual instrument or drum loop.
Essentially it works brilliant on everything. The only issue I really had with the unit was that every time I powered the unit on, I was calibrating the VU. I could never quite get the VU to stay at zero. This may have just been a temperamental demo unit but other than that, this unit is every bit of an LA-2A as the original. I love the Pre Emphasis and only wished it were a control on the front of the unit. The WA-2A really is a testament to the care and craftsmanship Warm Audio gives at such a low price point. Sure you could go spend thousands on a vintage model, but why do that when a $900.00 model can do the trick and hell… with a few under the hood modifications, even sound exactly like the model that constantly needs servicing and repair. But hey, some people like high maintenance.
Price: $899.00
For more information, visit https://www.warmaudio.com/tube-opto-compressor-wa-2a
Review: Warm Audio WA-2A
Impact Soundworks Straight Ahead Jazz Horns
Kontakt Player virtual instruments are the standard now and this one would fit perfectly in Ron Burgundy’s band. Straight Ahead Jazz Horns is Impact Soundworks latest VI.
FULTON, MD, USA: audio software creator Impact Soundworks is proud to announce availability of STRAIGHT AHEAD! JAZZ HORNS — a newly revised virtual instrument library featuring over 75,000 samples created in collaboration with jazz sampled instrument specialist Straight Ahead Samples, served up as 13 solo brass and sax instruments ideal for jazz, funk, pop, R&B, and much more besides for Native Instruments’ industry-standard KONTAKT PLAYER platform — as of February 14…
Though the (admittedly deep) sample pool remains largely the same as that found in ‘version 1’ of STRAIGHT AHEAD! JAZZ HORNS (originally released by Straight Ahead Samples) — albeit with some additional tweaks and a cleanup operation that has to be heard to be believed, below the hood STRAIGHT AHEAD! JAZZ HORNS represents an entirely different proposition altogether. All-new scripting smooths the way for smooth jazz or otherwise, thanks to Smart Voicing technology. This is a truly magical multi-script that can be used to quickly create realistic, properly-voiced jazz and big band ensemble sounds from combinations of four trumpets (Lead Trumpet, Trumpet 2, Trumpet 3, Trumpet 4); four trombones (Lead Trombone, Trombone 2, Trombone 3, Trombone 4); five saxes (Lead Alto Sax, Alto Sax 2, Lead Tenor Sax, Tenor Sax 2, Baritone Sax); all brass (all four trumpets and four trombones); full ensemble (all instruments); and pop horns (trumpet, tenor sax, trombone, baritone sax). Simply playing a left-handed chord tells the script what key and chord is being used while playing a right-handed melody generates fully-voiced chords based on the melody being played and the chord that was input! In a nutshell, then, the multi-script creates harmonised ensemble voicings based on individually played notes. (Not only is Smart Voicing deeply customisable with different voicing and chord options, but it can even be used with KONTAKT’s Send MIDI To Outside World Feature, allowing users to send generated harmony MIDI data to any other plug-in!) Voicings are intelligently split between all instruments and allow for normal articulation usage, too!
That being said, the TACT (Total Articulation Control Technology) used in Impact Soundworks’ virtual instrument products — STRAIGHT AHEAD! JAZZ HORNS included — is far from normal, however. As a modular, scalable system designed to create a consistent plug-and-play performance experience, it manages articulations with up to three triggering types, volume and offset control, and independently controlled legato toggles where applicable. Currently supported sources for triggering are note range, velocity range, CC range (on any CC# from 1 to 127), keyswitches (latching or non-latching, independently chosen per articulation), and sustain pedal up/down. Simply speaking, TACT is designed to manage user mapping schemes and facilitate experimentation to create the best user performance setups quickly and easily.
Ease of use is, of course, central to STRAIGHT AHEAD! JAZZ HORNS’ all-new user interface. There those astonishing Articulations are easily accessible via the namesake dedicated tabbed window, as are an array of flexible functions — for example, ALT DYN MODE (enabling dynamic filters and EQ instead of crossfading samples to produce different dynamic levels), SUS PHASE ALIGN (enabling all Sustain samples to be switched to Phase Align versions which will crossfade without phasing and with a different, more ‘stable’ timbre), EXTRA DYN FILTER (enabling a gentle lowpass 6 dB/oct filter to be applied to the output, linked to the DYNAMICS SLIDER to further emphasise dynamic transitions), and VOL PAN (to control the volume and panning for each enabled microphone position) — from the Main tabbed window, while the FX tabbed window provides access to the onboard (four-band, analogue-modelled, parametric) EQ, (analogue-modelled, SSL-style) COMPRESSOR, (all-purpose, tempo-synced) DELAY, (convolution) REVERB, and associated controls.
All add up to an even more playable, realistic, and customisable virtual instrument that offers both excellent solo instruments alongside some of the most powerful ensemble writing tools ever developed. STRAIGHT AHEAD! JAZZ HORNS handles anything the discerning jazz, funk, pop, R&B, and big band arranger and composer care to throw at it. Impact Soundworks collectively cannot wait to hear what its users can do with it… time to toot their own horn(s) with STRAIGHT AHEAD! JAZZ HORNS!
Note Native Instruments KONTAKT PLAYER or the full version of KONTAKT (version 5.5.2 or higher) is required.
For more in-depth information, please visit the dedicated STRAIGHT AHEAD! JAZZ HORNS webpage here: https://impactsoundworks.com/product/straight-ahead-jazz-horns/
Watch Impact Soundworks Lead Developer Andrew Aversa’s STRAIGHT AHEAD! JAZZ HORNS video walkthrough here: https://youtu.be/IPLJUW1t92s
Native Instruments Releases Maschine 2.6 Software Update
Maschine is a must have for anyone sampling or creating loops. The sequencer software has more updates in version 2.6
NATIVE INSTRUMENTS Releases MASCHINE Software Update
Free software update packed with new features to spark musicians’ creativity and spontaneity
February 14, 2017, Berlin – Native Instruments today released a feature- packed new software update for their acclaimed MASCHINE family of music- making tools. The MASCHINE 2.6 update, free to all registered owners of MASCHINE 2 software, brings several innovative features to MASCHINE STUDIO, MASCHINE MK1 and 2, and MASCHINE MIKRO that were
previously only available for MASCHINE JAM customers. It includes a suite of features that help spark creativity, add variety to tracks, and add flair to live performances. It also extends MASCHINE’s powerful workflow to external synths by introducing MIDI CC capabilities.
MASCHINE 2.6 comes with a new tool to help music producers spice up their compositions. Variation Engine, now for MASCHINE STUDIO, MASCHINE MK1 and 2, and MASCHINE MIKRO, relies on two unique functions, Humanize and Randomize, to add variety and spontaneity to any programmed melody or drum pattern. First enabled on the MASCHINE JAM, Humanize shakes up the quantization on existing patterns and moves the notes to give programmed patterns the feeling of having been played naturally, loosen up a drum beat, or add swing to a melody. And to help spark new ideas or add texture, Randomize creates new patterns with random velocities and note positions.
The new MASCHINE 2.6 software update also includes tools to encourage experimentation and spontaneity. Lock, another feature previously implemented in MASCHINE JAM, makes it easy, for example, to tweak a sound’s characters, change an envelope, open a filter, or modulate any other parameter without worrying about losing their previous work. Musicians using the MASCHINE STUDIO or MASCHINE MK1 and 2 controllers can now take snapshots of the parameters and then push a button to return to their original settings. Users can create up to 64 snapshots, and with the help of Morph, blend seamlessly from one snapshot to any other snapshot, making it easy to discover new transitions.
With MASCHINE 2.6, producers will now be able to send MIDI CC messages to their favorite external MIDI-enabled synths and drum machines directly from all MASCHINE hardware. MIDI CC allows performance data, like attributes and parameters, to be transmitted to the external device. This means musicians can, for example, change the tone of the kick on their favorite Roland groovebox or sweep the LFO on their beloved Korg synth as if they were software instruments.
This update also brings classic features standard on MASCHINE STUDIO, MASCHINE MK1 and 2, and MASCHINE MIKRO to the MASCHINE JAM.
Now producers can change a note’s pitch, velocity, length, swing, and position directly from the MASCHINE JAM via the step sequencer. It’s also possible to modulate parameters, like changing reverb depth, adjusting a favorite plugin, or tuning a drum, on each step. With MASCHINE 2.6, users can also quickly adjust the velocity levels on each note in step mode by pressing any of the 16 fixed velocity levels on a dedicated grid.
Additional information on the free MASCHINE 2.6 software update is available at:
www.native-instruments.com/new-in-maschine
Warm Audio WA-87 Condenser Microphone
Our good friends at Warm Audio have ventured into new territory. The WA-87 is their own rendition of the Neumann U87, one of the workhorses in the industry. Instead of costing you an arm and a leg, this $599.00 microphone claims to be every bit of the classic as its predecessors. Hopefully we will get our hands on one soon.
The classic ‘87 is arguably the most widely-used large diaphragm condenser microphone in pop recording history. Rather than base our WA-87 circuit on current incarnations of this mic, we decided to closely follow the early circuit designs that date back nearly half a century. As is true with many classic microphones, engineers who have worked with different versions of these microphones often prefer the warmer, more forgiving nature of the earlier commercially available models. The desire to re-introduce the warm tone of this classic mic at an affordable price to an all new generation of recording artists was the inspiration behind the WA-87.
Specifications
Microphone includes shock mount, hard mount and wood box.
Microphone type: condenser
Polar patterns: cardioid, figure of eight, and omnidirectional
Capsule: LK-87-B-50V reproduction of classic dual backplate (four wire termination) K87 capsule
Diaphragm: 6 micron thickness, 1 inch diameter, gold sputtered membrane
Frequency Response: 20hz – 20khz
SPL: .5% THD at 120db (without pad) or 130db (with pad)
Pad: -10db
Output: 150 ohms, 24k gold plated, 3 pin XLR (pin 1 = gnd, pin 2 = +, pin 3 = -), Cinemag USA mic output transformer
High Pass Filter: 80hz
Noise: 15db self noise, 80db s/n ratio
Color: nickel (painted)
Price: $599.00
For more information, visit https://www.warmaudio.com/wa87
Warm Audio WA-412
The WA-12 is a mainstay at Everything Recording HQ (review of MkI HERE and HERE). Why own one when you can own 4 in a 1u rack?
The WA-412 provides 4 channels of classic American console preamps in a sleek 1RU design. This style of preamp is often referred to as “the sound of Rock n’ Roll” for its BIG punchy low end and smooth open top end. The price/performance ratio of the WA-412 is almost unfathomable to the experienced studio engineer who has possibly paid much more for preamps of this style during their career. Featuring fully discrete socketed 6-pin opamps and custom wound Altran USA input and output transformers, the WA-412 leaves nothing to be desired. If you are looking for multiple channels of world class tone in an affordable package, the WA-412 might be the right choice for you.
Specifications
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4 Channel Microphone Preamplifer + Instrument DI.
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Fully discrete, transformer coupled, through-hole component topology.
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All channels utilize custom wound, premium input and output transformers made by Altran USA.
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X520 discrete op-amp in every channel, socketed for convenience. Can be user replaced with most 6 pin,discrete op- amps.
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65db gain.
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Inputs – Microphone XLR & Active Instrument DI.
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Outputs – Transformer balanced XLR & TRS.
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TONE button – Input impedance switches from 600 ohms to 150 ohms (changes the tone of bothn the mic and DI inputs).
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-20db pad – pads both mic and instrument DI inputs.
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+48 volt phantom power.
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LED metering.
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Output trim knob for precise level control and tone sculpting possibilities.
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Internal power supply (grounded, 3 pin IEC cord).
Price: $1199.00
For more information, visit https://www.warmaudio.com/wa412
Cloud Microphones Cloudlifter Zi Vari Z
Cloud Microphones brings their popular Cloudlifter® Mic Activator® technology to guitar players, bass players, keyboard players and more with the introduction of the Cloudlifter Zi Vari-Z Instrument DI and Mic Activator. In addition to giving instrument players control over their tone and gain staging from the very front of their signal chain, the new CL-Zi retains all of the original Cloudlifter-Z features for adding clean gain to dynamic and ribbon microphones.“Our new Cloudlifter Zi packs a dual punch for both instrumentalists and vocalists,” said Rodger Cloud. “It maximizes your instrument or mic’s signal strength and clarity while lowering the noise floor and also allows you to control your tone in a particularly beautiful way that can only be accomplished through manipulation of impedance.”The Cloudlifter Zi uses phantom power from any preamp to solve an array of common issues with instruments and microphones, providing up to +25dB of ultra-clean gain for XLR microphones and Lo-z sources and up to 12dB for 1/4″ instruments and Hi-z sources, via the Neutrik combination dual input connector and Hi-z to Lo-z Cinemag instrument transformer.Tone Control using Vari-Z Loading and High-Pass FilteringThe CL-Zi’s variable impedance “Z” knob and high-pass filter work in tandem to create massive tone control in a unique way through the manipulation of impedance loading. This is a great way to customize your tone before the gain stage of your signal path – just turn the “Z” knob until it sounds right!Variable GainThe CL-Zi has a three-position gain switch allowing for minimum gain, more gain, or the maximum gain available (up to approx. +25db for microphones or 12dB for instruments), This allows users to access clean gain and a lower noise floor for many studio or stage applications, from an electric guitar player that uses amp modeling or an acoustic guitar player performing live to singers with dynamic microphones to increase gain before feedback on stage.Features:
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Fully sweep-able variable impedance loading from 150ohms to 15kohms
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High-Pass filter frequency variable from below 20hz to over 4khz
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Three gain settings yield up to +25dB, 12dB, or 6dB with mics and up to +12dB, 6dB, or 3dB with instruments
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Compatible with 1/4″ Hi-z instrument inputs and XLR Lo-z microphones
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Hi-z input of >1Mohm primary impedance prior to secondary loading via the Cloudlifter’s Vari-Z interface
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Improves microphone gain before feedback ratio in live & public address applications
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Easy to use self-contained design requires only phantom power
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Compatible with dynamic, ribbon, tube, battery, or power supply driven microphones
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Uses patented Class A, discrete JFET circuitry and patented Vari-Z user interface
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Rugged, road-ready, and portable for studio, stage, and broadcasting
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Free lifetime limited warranty for parts and labor with product registration
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Manufactured and fabricated responsibly in the USA
Placid Audio Resonator A and B
A wise man once said “Anyone can use plugins for effects. Set yourself apart by using other means.” Placid Audio make these “other means” with their creative sounding microphones. They have released their new Resonator A and Resonator B microphones. Personally I like the B… and not just because that’s the first letter of my name.
We are excited to announce our Resonator Series mics are now officially available!
Listen to sound samples of both Resonator Variants:
Resonator B
Resonator A
Although the Resonator can be used live or in the studio as an effect mic on any sound source, it’s really the ultimate solution for adding more attitude and personality to high SPL sound sources like guitar, bass or keyboard amps as well as drums. Furthermore, you can blend the Resonator with a direct signal or other full range microphones to coax out new and interesting tones from your current arsenal of mics and DI boxes.
The Resonator employs a tuned full ranged dynamic capsule which is specially loaded into the mic body within a resonant baffled chamber. The combination of the capsule and the baffled chamber yields a throaty mid range and imparts a ‘music box’ like effect on the signal… something that no other microphone or plug-in can match!
This mic comes two varieties – The Resonator B and the Resonator A. Both the Resonator A and B use the same dynamic capsule but each employs it’s own unique baffled chamber in order to achieve two different sonic voicing. Which one is ‘better’…? Neither and that’s why we are putting both Resonator variants into production. Use your own ears and decide which Resonator variant is your favorite!
Be one of the first to get your hands on this super sonic secret weapon and start opening up new auditory frontiers. Used alone as an all out effect or in conjunction with your existing microphones, the Resonator A and Resonator B are guaranteed to bring unique inspiration to your creative process, recording session or live performance!
More samples will be featured on the Placid Audio Website soon so please stay tuned.
Price: $269.00
For more information, visit
https://www.placidaudio.com/products/resonator-a/
https://www.placidaudio.com/products/resonator-b/
Touch Innovations Kontrol Master
Touch Innovations is a relatively new name to the scene, but as soon as I saw this interface, I loved the look. It takes me right back to endless days in the arcade. These buttons do more than just throw a punch or fire a laser. Plus the name harkens to Mortal Kombat! Kontrol Master has the brains to match the beauty too. I may have to give one of these a try.
Kontrol Master provides a revolutionary and unique experience, effectively and effortlessly integrating its user’s second hand into the musical mix using a high-precision, highly-responsive knob to control virtual knobs, faders, and more. Music production workflow works like never before by simply hovering the mouse pointer over the object to be controlled and immediately start using that knob for that tactile feel that us humans know and love.
Who better to make the formal introductions than Touch Innovations COO Cody Myer: “Using this controller gives you such a fluid, comfortable response, but, more than that, you get precision. Whereas, you can overshoot and undershoot using your mouse and keyboard, which can be frustrating. So adding a hover-dynamic experience — to simply be able to go over any of the key elements, move along, and edit on the fly is a really handy tool. Not only that, it’s capacitive, so you can touch. On the knob you’re touching things to control, so you’ve got full vertical, rotary, and horizontal control throughout any software — whether it’s Windows, Mac… even Linux. On top of that, all the buttons are preprogrammed. We have custom layouts for Reason, Ableton, Logic, and more. You can also customise it and save those settings, so you have your own defaults when you start. Cooler still the transport windows let you use multiple monitors… simply tap the buttons and — from the same position that you’re already at on your screen — this will instantly take you to your secondary monitor, without having to keep searching for your mouse, so you can do what you need to do.”
Doesn’t come cooler than that, surely! So how and why, exactly, does Kontrol Master do what it does so well while other controllers have fallen flat? For starters, it is USB (Universal Serial Bus) powered; plug it into your computer, customise the unit using the KM software, and use it immediately. The single knob provides accurate control of different objects in various software interfaces. Pressing one of the three white buttons allows that knob to control vertical, rotary, and horizontal objects. The two orange buttons let users instantly surf across multiple monitors. These and all other buttons make it possible to fire a combination of up to 24 different kinds of actions, like keystrokes, shortcut keys, and MIDI (Musical Instrument Digital Interface) events. Essentially a plug-and-play device, Kontrol Master makes more time to focus on projects while reducing the strain of countless hours that would otherwise be spent editing — time that could be better spent producing and mixing music, videos, or graphic works of art.
All told, then, it should come as little surprise to learn that Kontrol Master made the grade at The 2017 NAMM Show, January 19-22 in Anaheim, California by becoming a BEST OF NAMM 2017 WINNER in the hotly-contested CONTROLLERS/SEQUENCERS category, as awarded by MusicRadar, “The No. 1 Website For Musicians.” Many more musical minds were blown along the way, with Ask.Audio actively ranking it amongst its “11 Top Synths, Sequencers & Controllers From NAMM 2017” (to namecheck more media movers and shakers).
Saying that, actions (almost) always speak louder than words, but — closer to home — Touch Innovations’ conclusions are clear: combining Kontrol Master with editing software favourites transforms workflow from standard keyboard and mouse combo control to a fluid and precisely accurate experience. It is the — now no longer missing — link between human and computer that perfectly balances virtual parameter control with creative expression. Music, video, and graphics editors alike will find Kontrol Master to be a powerful intuitive instrument that directly links inspiration to all editing software. So why not add it to your setup today? Truth be told, you won’t know how you once worked without it… just ask Ask.Audio, MusicRadar, and many more besides!
For more in-depth information, please visit the dedicated Kontrol Master webpage here: https://touchinnovations.com/products/kontrol-master/
Watch Touch Innovations’ informative Kontrol Master introductory video here: https://youtu.be/ZREz28El7Es
Slate Virtual Recording Studio and ML-2 Modeling Microphone
We don’t have much to go off of but this is usually typical of the Slate marketing machine, but it seems Steven Slate is on his way to a complete autonomous recording environment. Next up is the DAW. Also on top of an interface, the Small Diaphragm Virtual Microphone will be released at some point as well.
“For twenty years, I have dreamed of bringing the professional studio to anyone who wants to make music. I’m talking about microphone lockers filled with every classic mic imaginable. Tape machines and vintage consoles to add flavor and vibe. And of course, all kinds of outboard processors and effects.
However, for as long as I can remember, all of those famous tools have been reserved for the industry elite and people who have lots of money.
Well. That’s finally going to change.
Introducing the Slate ‘Virtual Recording Studio’ featuring the new VRS-8 Interface and new ML-2 Modeling Microphone System. Watch my live keynote address to learn all about it, and see it live at NAMM Booth 6806.
The Video will reveal all the details, including specs, pricing, and some amazing sound examples…
Estimated Shipping: Q2 2017
Stay tuned on http://www.SlateDigital.com
Softube Console 1 Mk II with UAD Support
The Softube Console Mk I was a very useful tool in its own right in regards to controlling Softube software. Not only has MkII of Console 1 come with a price drop, but support for other plugin companies and DAWs have been added.
High-end plug-in specialist Softube is proud to announce Console 1 Mk II — an upgraded version of its award-winning hardware/software mixing system, representing an enormous leap forward from its predecessor with support for selected UAD Powered Plug-ins from Universal Audio and a substantial, permanent price drop — at The 2017 NAMM Show, January 19-22 in Anaheim, California…
Originally released in 2014, Softube Console 1 quickly earned a large and dedicated following, receiving prestigious awards and rave reviews in the pro audio press. With its tightly integrated hardware and software, and the included emulation of a Solid State Logic SL 4000 E console, Console 1 offered the best of the digital and analog worlds in a compact system.
Today, Softube announces Console 1 Mk II, an upgrade that addresses the most frequent user requests. Firstly, the new software — also available to owners of the first-generation Console 1 — makes it possible to use Console 1 with selected UAD Powered Plug-Ins from Universal Audio. There are now over 60 world-class plug-ins that can be used from within the Console 1 system, including plug-ins based on units from Chandler Limited, Fairchild, Teletronix, Tube-Tech, Abbey Road Studios, and many more. The plug-ins are pre-mapped and easily selectable from the Console 1 software, so no MIDI mapping is necessary.
Secondly, the success of Console 1 has made it possible to make efficiencies in production, resulting in an MSRP drop from $849 to $499. The hardware has the same build quality as the original units, with some minor layout changes such as more visible LED markers.
All of these changes come in addition to the recently released software update, which added DAW control functions for Presonus Studio One and Cakewalk SONAR.
Greg Westall, Vice President of Sales and Marketing for Universal Audio, states: “Softube and Universal Audio share a lot of core values, like the importance of sound quality, ease of use, and a love for good music. Seeing that Universal Audio and Softube are longtime partners, and that Console 1 is a super intuitive control surface, it all just makes so much sense.”
Oscar Öberg, President of Softube, comments: “The concept of Console 1 has been extremely popular, and we haven’t been able to keep up with the demand. I’m excited that we finally are able to manufacture larger quantities of a Console 1 that’s not only better but also a lot more affordable.”
The new Console 1 Mk II units, and the software update with the UAD Powered Plug-Ins compatibility, will be available in Spring 2017. Upon release, existing Console 1 owners can download the updated software from www.softube.com and start using it with their Console 1-ready DAWs or plug-ins.
Price: $499
More in-depth information, including a must-see Console 1 Mk II video, is available here: http://softu.be/2jW2vBJ
