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Plugin Alliance Releases 4 New Brainworx Plugins

By
Bryan
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For too long, producers, engineers and guitarists have waded through a sea of amp simulator and guitar pedal plugins that mimic the sound of hundreds of amps, microphones and effects without authentically recreating that gear’s organic sound and hardware behavior. However, with its four new guitar-processing plugins, Brainworx continues its world-renowned tradition of advanced component-level modeling, which faithfully recreates both the exquisite tone and the behavior of the guitar amps and effects they analyze. These plugins offer a rare in-DAW experience for both real-time guitar tracking and guitar processing. They also fulfill a dire need for high-end guitar amp and stomp box emulations in the AAX DSP format for Pro Tools HDX users.
Marking the culmination of four years of exacting guitar amp model development, the redesigned bx_rockrack V3 delivers an extremely versatile collection of 1:1 emulations of eight high-end guitar amplifiers, each one painstakingly captured by pro audio engineers who make capturing tone their livelihood.
Whether shooting for piercing metal barbarism, crisp and clean jazz riffs or something in between, these four plugins not only sound like the real thing, but also feel like it when you play them. You get all the tone, but none of the noise of the hardware, while also enjoying full recall, automation and stereo buss processing.
• Brainworx bx_rockrack V3 ($199 MSRP) – eight 1:1 emulations of coveted, high-end guitar amplifiers from Marshall®, Mesa®, and ENGL packed into one sleek and sophisticated plugin. The bx_rockrack V3 includes 40 pristine impulse responses that combine cabinets with EQ settings and other gear, such as the onboard noise gate, vintage delay and shaping filter effects. This completely overhauled flagship guitar amp sim improves workflow, reduces CPU usage and increases sound quality, and its endless tone varieties are all 100% recallable and reliable. The price has also dropped $50 from the cost of bx_rockrack PRO.
• Brainworx bx_rockrack V3 Player (free full license) – This addition to Plugin Alliance’s PA FREE Bundle lets users experience the jaw-dropping sounds of all eight amp models from the bx_rockrack V3 through 26 non-editable presets ranging from clean tones from Brainworx’s Marshall JCM-800® emulation to ferocious metal strains from overdriven ENGL preamps. Users have unlimited access to bx_rockrack V3 Player’s presets and can upgrade to the full version at any time.
•Brainworx bx_metal2 ($49 MSRP) – a faithful emulation of the industry-standard Boss MT-2™ stomp box, the bx_metal2 presents the quickest route from a clean guitar tone to a totally authentic metal sound. It can crank out super-long sustain and heavy mids and lows like a stack of overdriven amps. With three ±15 dB EQ bands, bx_metal2 can produce both searing leads and face-melting, low-boosted heavy metal chords.
•Brainworx bx_blackdist2 ($49 MSRP) – an exacting emulation of the ProCo Sound RAT 2™ pedal, which has shaped the sound of thousands of iconic records from the likes of Metallica, Foo Fighters and many others. The bx_blackdist2 produces myriad distortions, from warm overdrive to tube-like crunchiness and fierce screams, all from just three simple parameters.
“The original bx_rockrack was our first amp emulation,” said Brainworx founder and CEO Dirk Ulrich. “It was a real labor of love to go back and apply to V3 so much of what we’ve learned about developing guitar amp plugins and capturing recording chains over the last four years.”
“OMG! What a massive improvement the bx_rockrack V3 is from the already amazing original,” Dave Reitzas, producer/mixer/engineer (credits: Barbra Streisand, Madonna & The Weeknd). “Not only do the new models sound great, but the possibilities are endless on what you can do with sounds. The GUI looks slicker and the ability to audition amps and recording chains is much faster and intuitive. The only limit now is your imagination!”
bx_rockrack PRO users can upgrade to bx_rockrack V3 for $29 and enjoy the new Brainworx bx_metal 666 amp, 25 new recording chains and the improved workflow, sound and CPU load of the new plugin. Plugin Alliance is also offering a promotional upgrade of $79 for users who download and activate the bx_rockrack V3 Player, now through October 31st.
All four plugins are now available in AAX DSP & Native, AU, VST2 and VST3 formats for Mac OS 10.8 through 10.11 and Windows 7 through 10. The bx_rockrack V3, bx_metal2 and bx_blackdist2 are also included in the 100% BX Bundle V2.7and All Bundle V4.3 at discounted bundle prices. All Plugin Alliance products are available as fully-functional 14-day demos with a registered account.
Legal Disclaimers: The bx_rockrack V3 Marshall and Mesa amps were developed by Brainworx Music & Media GMBH based on its own modeling techniques. Neither Marshall Amplification nor Mesa/Boogie Ltd. have endorsed or sponsored the bx_rockrack V3 in any manner, nor have they licensed any intellectual property for use in this product.
Boss MT-2 is a registered trademark of Roland Inc. Brainworx developed the bx_metal2 based on its own modeling techniques. Roland has neither endorsed nor sponsored the bx_metal2 in any manner, nor licensed any intellectual property for use in this product.
RAT 2 is a registered trademark of ProCo Sound. Brainworx developed the bx_blackdist2 based on its own modeling techniques. ProCo has neither endorsed nor sponsored the bx_blackdist2 in any manner, nor licensed any intellectual property for use in this produ

Softube New Modules and Windows 10 Fixes

By
Bryan
-

Softube has released two new modules for the Modular plugin. They have also smoothed out a few bugs for Windows 10.

LINKÖPING, SWEDEN: high-end plug-in specialist Softube is proud to announce availability of version 2.3.76 of its plug-ins installer with a fix for Windows 10 users and a long line of minor bug fixes, but best of all, two new utility modules are available free of charge to existing and future Modular owners as of September 26…
Dual X-Fade
Dual X-Fade is a two-channel, CV-controllable crossfade module that lets you create new and interesting textures by blending two separate mono signals. For example, patch in two different waveforms from an oscillator — such as sine or saw — and use the blend knob to set the level between the two signals. You can also morph seamlessly between them by manually adjusting the blend knob while the song is playing or control the knob with an LFO via CV.
Dual Pan
A two-channel, CV-controllable panning module, use Dual Pan to place one or two mono signals anywhere in the stereo mix panorama, such as two percussive sounds that the user wants to separate in the stereo image, for example. The 1+2 outputs can be used for a stereo sum of the two L and two R outputs. Dual Pan can also be used as an A/B switch to send a CV or audio signal to two different inputs.

 
Modular owners can simply download the new installer from http://softu.be/get_installer, run it, and the new modules will be available in the Module Selector window.
Bug Fixes
Furthermore, the 2.3.76 software includes a large number of bug fixes. Most importantly, the issues for Windows 10 users have been remedied, so Softube’s plug-ins are again fully compatible with Windows 10. For the complete list of bug fixes, please refer to Softube’s change log here: http://softu.be/change_log

Guerrilla Recording and Mixing with Nathan Daniel Music

By
Bryan
-

There is that point all of us find ourselves when we know just enough about tracking and mixing to be dangerous. We’ve become aware that there is specific gear that pros use and various forums, articles, as well as ads for products all telling you “you need this or your mixes will never sound like (insert the “IT” mix engineer of the time)”. All the while you’re simply trying to get some semblance of a good mix on what gear you can afford. Then comes the stage where you’ve learned all you can from YouTube and various online training sites and you start blaming your gear. In turn, you save up what little money you have and buy whatever mic or pre that you’ve determined will save your sanity… but then something strange happens. Sure your mixes sound a little better, but you’re left not sounding anywhere close to what you’ve built up in your head. Now you’re questioning why you even still do this if your results aren’t even close to what you’ve expected.
 
Hit close to home for some of you? It’s exactly where I’ve been the majority of my career in pro audio, but someone showed me a mix that shed light on something. It’s not the gear that’s the issue.
 
So how did one mix show me this?
 
The answer is actually pretty easy. Listen to this track below very carefully.

 
Initial reactions may vary but overall the mix is balanced and focused. It’s also very raw as the artist probably would have envisioned for the style being played, but does it sound like it was tracked on a 15 year old 8 track Boss BR8 (http://www.bossus.com/products/br-8/) in an untreated rehearsal space with 4 other bands playing in other rooms at the same time? You probably didn’t see that coming.
 
The band was recorded and mixed by Nathan Daniel, a musician / engineer / producer based in Hollywood, CA (www.nathandanielmusic.com).
 
He is also the co host of UBK Happy Funtime Hour (http://www.ubkhappyfuntimehour.com/), a podcast that is in my opinion, the most informative and entertaining podcast on audio out there. Together with Kush Audio head honcho Gregory Scott, the podcast very concisely answer just about any question from listeners using a combination of their knowledge and a good bit of ribbing and humor. I can only liken it to what I think being in a room with all of the best minds in recording with a slight gas leak would be. Sure you’ll most likely get a great answer, but first they’re gonna make fun of your name and and go hilariously off topic for a few minutes.
 
The reason I bring up the podcast is both because Nathan graciously gave me carte blanche to ask anything about the track for this article and because of his co-host on UBK Happy Funtime Hour. While they agree on a good deal of topics, Gregory Scott is a self admitted “gear snob” who feels the devil is in the analog details. Nathan, on the other hand, subscribes more to the “throw any mic in front of it and I’ll find a way to make it sound good.” That’s not to say that he is careless or lucky. Proper phasing and mic technique are definitely in play but what’s in between the track and the player isn’t as important to him. Such is the case with this song.
 
(ER): So first off, how did this situation come about in the first place?
 
I had recorded and mixed a full length for the band previously and after a couple years, they wanted to record again.  But they had little money and didn’t want to do another full length.  So I suggested that we just record one song.
 
 
(ER) At any point were you concerned about the quality of a Boss recorder that wasn’t even yours?
 
No, I wasn’t.  It was the singer’s BR8 so he knew how to use it.  So I knew we’d be fine in that sense.  I was concerned about recording in a rehearsal spot that had other bands practicing in different rooms and no sound treatment whatsoever.
 
 
(ER) Did you bring any of your own gear (mics / preamps / pedals / sound treatment)?
 
I brought 3 mics and some mic stands.  That’s it.
 
 
(ER) If you were using their gear, what did you have to work with as far as mics?
 
The 3 mics I brought were two Rode NT2A’s and an SM58.  They had another 58 so that was the 4 mics.   They also rented a little 4 channel Mackie mixer because you can only record 2 tracks at a time on the BR8!
 
(ER) Were you aware of the venue or was that a surprise to you going into this?
 
No surprises.  I was well aware of what we were getting into. 
 
 
(ER) How was the issue of the bands performing around you addressed?
 
It wasn’t!  We just said fuck it, let’s do this.
 
(ER) Describe the process of recording this track. (Each member at a time or most all together)
 
Since the BR8 only records 2 tracks at a time, we used 4 mics into the Mackie mixer to record drums first.  Kick, snare and 2 overheads (Rode’s).  
 
The drummer knew the song well enough that he just played it without other tracks as a guide.  And I don’t think we could figure out the click on the BR8 if it had one so he just played on his own.  He probably played the song 3 times and I just ended up using his best performance. 
 
Then it was just a matter of overdubbing the guitars and bass.  And then the singer went home and recorded the vocals in his closet.  I don’t remember the mic he used but it was a cheap LDC I believe.
 
 
 
 
(ER) Once this track was recorded, it was all brought into Pro Tools right?
 
Yes, I brought everything into Pro Tools to mix.
 
 
(ER) From there, did you run the tracks back out into outboard gear or stay in the box?
 
It was an ITB mix.  No outboard gear was used.
 
 
(ER) Did any drum replacement have to be used or was this all from the original kit?
 
I knew before we started I would add some samples.  The original drums are still there but samples were definitely added.  And since there were no close tom mics, I had to make copies of the OH tracks and slice up the hits where the toms were played in order to add the tom samples.  
 
 
(ER) How blown away was the band after hearing this come out of their own less than ideal quality gear?
 
They loved it.   It’s not an ideal situation for a lot of bands but they embraced it and made the most of it.  It was a lot of fun!
 
 
All of this simply goes to show that knowledge and wins over gear in a lot of situations and experience goes a long way in making less than ideal situations work.
 
And it so happens that Nathan offers a very unique way of mix training.  Nathan will take your track, mix it completely in the box using the same plugins you own, send the mix session and final mix back to you, and explain his approach, concepts, and POV.… no secrets.
 
Like I mentioned in the beginning, I was at my wits end with recording. I was not happy with what was coming out of my overpriced monitors. I was at the point where I was about to sell everything (including this site). I had heard the podcast and was confident in his abilities to mix so I paid for this service and can say personally, my mixing stepped up too many levels to count, and I brought him a ROUGH mixing session.  Everything about this session was pretty dicey.  He took it and molded it into a buyable product (stay tuned, an article breaking down the service is coming).
 
Yes online video training is helpful… it has its place, but at some point, broad stroke training just doesn’t cut it. Most of us do not have the time nor money to enroll in a school, so why not give it a shot?
For more information on one-on-one mix training, or to have Nathan produce, mix, master, compose, make fun of you, teach you arts and crafts, or just see some sweet cat pictures, visit http://www.NathanDanielMusic.com
 

Review: Hammer DSP – from A-Designs Digital by Kush Audio

By
Bryan
-

Today, Kush Audio throws everyone a complete curveball by releasing a new “co-branded partnership” venture with A-Designs. A while back, Gregory Scott had mentioned to Everything Recording that due a new streamlined process of coding his DSP creations, that more products would be released more frequently. Initially, we thought this meant more Kush plugins which was already great news. We did not expect for the company to move into assisting other hardware manufacturers with DSP versions of their gear. What makes this new chapter in Kush Audio so great is that, in line with Gregory Scott’s tendency to make unique products, we most likely won’t be getting reinvented versions of gear already “plugified”. Kush Audio will open the doors to different boutique pieces of gear debuting as plugins. We start this journey off with A-Designs Hammer EQ… and we got a sneak peek before launch.
 
The Hammer is a tube based dual-mono, 3 band stepped frequency EQ with a “floating Q” that varies by how much gain is being applied and the actual frequency and dynamic content of the audio. Each channel has 6 knobs (3 detented knobs for fixed frequencies and 3 volume knobs, one for each frequency) and 3 switches (one for EQ in / out, one for 84Hz low cut filter, and another for an 8kHz Hi Cut filter). Some of the added features for the DSP version is a choice of independent dual mono, or linked stereo operation and output trim control.
 
The Hammer DSP functions like the original HM2EQ and not exactly like the Hammer 2. The main difference between the HM2EQ and the Hammer 2 is the Hammer 2 has a few more frequencies and the option for shelving on the corner low and high frequencies. The Hammer DSP features proportional Q bell filters throughout all frequencies. What sets this EQ apart from most of the others is how this floating Q responds to music. It’s actually very ingenious. Instead of either boosting the peak of a frequency at a set interval or with a gain / Q interaction whereby the Q changes as the gain is increased or decrease, Hammer will adjust the Q based on the amount of gain applied (or not applied), the actual dynamic material coming into the EQ, and the frequency content. This creates a living, breathing interaction that differs from track to track. Because of this unique approach, the EQ responds TO the music, not vice-versa. This gives a “musical” (I hate using these descriptions) quality to tracks. The EQ is essentially very “broad strokes” and tends to be used more as a blanket than a surgical tool. Even just instantiating the plugin gives a subtle bump in the low end to tracks and although this plugin is mainly used in stereo operations, it can just as easily be used on mono sources.
 
That in a nutshell pretty much explains the plugin. Simply decide whether Dual Mono or Stereo mode is needed, select whichever stepped frequency you want more or less of, turn the knobs, and immediately start smiling. I would be willing to bet money that this plugin will never leave your mix bus. Just about any application of this plugin renders incredible results. The proportional Q is a staple of Kush and SlyFi plugins and the Hammer DSP (literally) rounds out the collection. The Electra DSP has the tightest proportional Q, SlyFi’s Axis has a medium Q, and Hammer has the widest. Using all of these in combination gives infinite possibilities to tracks.
 
This EQ was designed for bass. The fixed frequencies provide the exact cuts and boosts needed for just about any tone desired. Acoustic guitars, vocals, synths all loved Hammer DSP. I found myself using the hi and low cuts with generous boosts on the lows and highs to obtain a Pultec-esc feel on tracks. Harsh audio immediately settles down when cutting with Hammer and even huge boosts on frequencies that usually wouldn’t be boosted obtains unexpectedly great results. I somehow fell in love with boosting 500Hz on my mix bus, which is something I usually wouldn’t think of doing. Try it… I bet it’s what your mix has been missing.
 
Sonically, I have absolutely nothing negative to say about Hammer DSP… Operationally, I have a couple of issues.
 
When changing from dual-mono to stereo, I lose my settings. Sometimes I like to stereo link controls then unlink to tweak each side. Each time I switch, my controls return either to default or the last state I left the plugin in before switching. I would also like to see a mid-side mode to sweeten the center and corners in different ways.
 
I also wanted to see some UBK-esque enhancements (sorry Greg, you’ve put this all on yourself with Axis!) Since Hammer DSP is tube based, I want to be able to drive that input circuit! I also want to be able to blend the drive with a wet / dry knob. I also would love to see UBK mode where the frequencies are sweepable, not because they necessarily are missing anything, but just to see how the plugin responds with different frequencies.
 
None of these missing features take away from the sheer greatness of the plugin and I suspect because this is Kush’s first venture with 3rd party hardware that discretion was used. I mean, how would you feel as a hardware company having someone not stay as close to the original as possible when making a plugin version of one of their prized pieces of hardware. I respect the commitment to keep as close to the hardware as possible. Who knows, maybe in the future a Kush original based similarly to the Hammer will show up. I’d buy that!
 
Overall this surprising new development is a refreshing new direction for Kush Audio and makes for a great version of an already unique piece of hardware. I can’t wait to see what “designed by Kush Audio” has in store next.
 
For more information and to buy, visit http://www.TheHouseofKush.com/

Native Instruments MASCHINE JAM Hardware

By
Bryan
-

Maschine is a cornerstone in many producers’ setups. Native Instruments took the MPC based systems and expanded them in only ways they could. Now the MASCHINE series is expanding with a new addition in the form of a creative performance system with MASCHINE JAM.

Native Instruments today announced MASCHINE JAM – the modern production and performance system created for fluid, intuitive track sketching and the latest member of the MASCHINE family. MASCHINE JAM offers versatile workflow designed to swiftly capture and develop creative ideas using tactile step sequencing and touch-sensitive performance controls for the latest MASCHINE 2 software. Advancing the same seamless hardware-software integration found throughout the world of MASCHINE, MASCHINE JAM not only enhances music production with existing MASCHINE hardware, but also with DAWs, NKS-ready plug-ins, and the KOMPLETE range of software and hardware. MASCHINE JAM will be available at the NI Online Shop and at retailers worldwide starting September 29, 2016.
“Inspiration has always been the most energizing, yet transient moment in the creative process,” says Mate Galic, CTO of Native Instruments. “MASCHINE JAM narrows the gap between idea and execution and introduces an innovative piece of hardware that draws from the power of software in a deeply integrated way. It will stimulate more creative experimentation, drive quick results and deliver the flow of a truly tactile digital instrument for advanced track building and performance”.
MASCHINE JAM offers a unique set of hardware features that reinforces the creative process. Its workflow centers on an 8×8 multicolor click-pad matrix where producers and performers can experiment with arrangement possibilities using patterns and scenes. In Step Mode, the matrix becomes a powerful multi-track step-sequencer for one, four, or eight sounds simultaneously. In Pad Mode, sounds are entered in real time, while Piano Roll Mode makes step-sequencing melodies in a wide variety of available scales possible. When the Variation Engine is enabled, inspirational beats and melodies are randomly generated based on customizable values and then modified on the matrix. A built-in humanizer adds natural rhythmic fluctuations to programmed sequences.
MASCHINE JAM’s eight dual-touch Smart Strips feature an impressive set of functions unlocked with the free MASCHINE 2.5 software update. All-new Perform FX map one of several effects to JAM’s touch strips. Each strip responds to simultaneous finger gestures to alter the motion, space, and dynamics of sounds in real time. The Smart Strips each feature multi-color LED meters to monitor the level of the assigned function, and can be used to alter macros, key instrument parameters, and even play melodies and chords with the unique Notes function. A powerful Lock function stores parameter snapshots that can revert back to their original settings or morph between multiple lock states.
MASCHINE JAM includes a substantial repertoire of sound from MASCHINE 2 software and the KOMPLETE 11 SELECT* instruments and effects bundle – including NI’s legendary synths MASSIVE and MONARK – so producers can start creating right out of the box. Along with the powerful MASCHINE Drum Synth modules, version 2.5 of the acclaimed MASCHINE software features a revised 9 GB library updated with all-new sounds and macro controls.
MASCHINE JAM not only boasts united workflow across included sounds and instruments, but also creates a workflow complementary to existing MASCHINE hardware. In addition to seamless browsing through the advanced tag-based MASCHINE and KOMPLETE sound libraries, full support for NKS-ready plug-ins makes native in-app browsing for third party software possible. MASCHINE JAM integrates seamlessly within any DAWs as a plug-in, and provides extensive DAW control as a dedicated controller in MIDI mode. A template for Ableton Live is included. It can also be custom-mapped to control any other MIDI capable software.

To mark the release of MASCHINE JAM, Native Instruments is offering MASCHINE 2 software owners the choice of two MASCHINE Expansions from an eligible 20** – free with registration of MASCHINE JAM. The introductory offer runs until December 31, 2016.
MASCHINE JAM will be available for $399 / 399 € / ¥ 49,800 / £319 / AU$ 549 at the NI Online Shop and at local retailers on September 29, 2016.
Preorder is also available.
The free MASCHINE Expansions introductory offer is only available at the NI Online Shop until December 31, 2016 for existing MASCHINE 2 software owners after registration of MASCHINE JAM hardware.
Additional information on MASCHINE JAM is available at:
www.native-instruments.com/maschinejam

Keith McMillen K-Mix Windows Support

By
Bryan
-

The K-Mix is the perfect audio interface / control surface. Keith McMillen has addressed almost every facet that has been missing in modern control surfaces. Now you can edit K-Mix in Windows.

BERKELEY, CA, USA: innovative hardware and software developer Keith McMillen Instruments is proud to announce availability of K-Mix Editor for Windows 7, 8, and 10 (64-bit only) — widening the appeal of its critically-acclaimed K-MIX 8 In 10 Out Audio Interface Programmable Mixer with Windows compatibility — as of September 7…
“We’re happy to officially announce that we have a version of the K-Mix Editor and drivers available for Windows!” With this far-reaching release — the latest in a lengthening line of developments witnessing welcomed compatibility with Windows 7, 8, and 10 (64-bit only) as the killer K-MIX mushrooms onwards and outwards following its integration into iOS, Keith McMillen Instruments Founder & CEO Keith McMillen is justifiably proud of his namesake company’s achievements and appreciative of its considerate customers, having blown musical minds and opened open-minded ears during its initial introduction as a mould-breaking Mac OS X-compatible device at The NAMM Show 2016, January 21-24 in Anaheim. “We would like to thank Windows users for their patience as we finished this project,” he continues, before adding: “We’re excited to be able to offer cross-platform support for Mac OS X, iOS, and, now, Windows to all of our amazing customers — K-MIX for everyone!”
Exciting times, then, for company and customers alike as ‘McMillen & Co.’ can look forward to welcoming Windows users into the thriving K-MIX community of refined recordists and perceptive performers, thanks to the latest K-Mix Editor and accompanying custom K-Mix USB Audio Driver v1.1.0 (that must be installed first). Finally, more musicians than ever can come to appreciate the technical nuances of the farther-reaching, feature- packed K-MIX — not least its precision opto-tactile control surface, designed from the ground up to command any DAW (Digital Audio Workstation) with an unprecedented level of control, combined with two ultra-accurate, low-noise μPreTM proprietary preamps, providing a quoted THD (Total Harmonic Distortion) + Noise rating of -105.12dBu @ 0dB gain, 20Hz–20kHz (unweighted); -116.49dBu @ 0dB gain, 20Hz–20kHz (A-weighted). An enlightening experience for users of all persuasions — Windows or otherwise!

K-Mix Editor for Windows 7, 8, and 10 (64-bit only) and K-Mix USB Audio Driver v1.1.0 can be downloaded directly from Keith McMillen Instruments itself here: https://www.keithmcmillen.com/downloads/
K-MIX carries an MSRP of $579.00 USD and is available to purchase from any authorised Keith McMillen Instruments dealer or directly from Keith McMillen Instruments itself here: http://www.keithmcmillen.com/shop/
For more in-depth information, please visit the dedicated K-MIX webpage here: http://www.keithmcmillen.com/products/k-mix/

Keith McMillen Kickstarter: BopPad

By
Bryan
-

We all know that electronic drum pads have never been up to par with the real thing. Up until now, the solution is essentially small trampolines arranged in a pattern the resemble drums. Keith McMillen is launching a Kickstarter for a new zoned, ultra sensitive drum pad that takes drumming to a whole new level.

BERKELEY, CA, USA: innovative hardware and software developer Keith McMillen Instruments is proud to introduce BopPad — broadening the company’s considerable product appeal by beginning to scale up for production of the most advanced electronic drum pad controller ever conceived — courtesy of a Kickstarter campaign kicking off as of August 31, 2016…
As the first product to come out of KMI Labs (https://www.keithmcmillen.com/labs/), the R&D (Research and Development) division of Keith McMillen Instruments, BopPad is an expressive electronic drum pad for drummers, percussionists, and producers alike. As such, it advances accurate hit detection via velocity, continuous radius, and pressure sensitivity with a p.d.q. (pretty damn quick) playing surface to die for. Faster than you can shake a stick at? Absolutely — as attested to by its incredible 2.4 millisecond latency! Literally set to be a game changer, BopPad’s advanced architecture allows for an innovative instrument that ‘sees’ every gesture, hit, or tap to truly respond to the nuances of any percussive performance, perfectly measuring strike velocity from the softest hand-drumming actions to the most brutal percussive assault.
According to Keith McMillen Instruments Founder & CEO Keith McMillen, “The BopPad is the ultimate MIDI drum pad controller, providing a thrilling amount of sensitivity, control, and flexibility, whether playing with hands, fingers, sticks, or mallets. It’s great for the beginner looking to unleash their inner groove or seasoned pro demanding the most advanced control surface to take their kit to the next level.”
Speaking of which, the pad itself is splittable into four independently programmable zones — Quadrants in ‘KMI speak‘ — outputting MIDI (Musical Instrument Digital Interface) notes, velocity, bend, pressure, and location CCs (Control Changes). The BopPad Editor software — which will be available as a desktop download and iOS app — allows those Quadrants to be assigned to play up to six simultaneous notes with six expressive timbre maps, meaning that BopPad can not only be played like a traditional drum by triggering a single sound from its entire surface but building out a drum kit by assigning a different sound to each of those Quadrants so that a single BopPad can comfortably handle several simultaneous percussive goals. Get this, though: smoothly varying radial sensing from centre to edge along with continuous pressure response can be mapped to any parameter, allowing for both traditional and experimental playing styles like no other!
“Our instruments are made out of a smart fabric I started developing over eight years ago,” asserts Keith McMillen, bringing musical credence to technology as the great leveller. “This fabric is at the heart of all of our products and we’re constantly refining the process. We’ve been able to get a super-sensitive response and wide dynamic range, making it the perfect sensor for a percussive controller.”
Delving deeper into the technology behind BopPad, Keith McMillen maintains, “One of our most important innovations is the printing of special electronic inks directly onto materials, making the sensor far more resilient and trimming down the instrument’s size and weight. The sensor fabric is covered with a layer of tuned elastomer and housed in a rugged enclosure to make a tour-ready drum pad controller that will withstand a lifetime of heavy performance.”
Priming prototypes of BopPad being field-tested for fine-tuning with professional percussionists and drummers in readiness for scaling up to full production as a perfect percussive controller capable of withstanding a lifetime of heavy performance prompts some serious investment in tooling, materials, and assembly. Again, Keith McMillen Instruments is turning to Kickstarter — the world’s largest funding platform for creative projects — for funding support, having previously completed successful campaigns to help bring to life its innovative QuNEO 3D multi-touch pad controller and QuNEXUS smart sensor keyboard controller. Concluding with some serious words of wisdom, Keith McMillen cuts to the chase: “KMI has two successful Kickstarter campaigns under its collective belt, and we’ve learned a lot of important lessons about timely delivery and how to be successful in our projects; there really is no better way for a small company with a good idea to get the awareness, feedback, and support it needs to bring it to the real world.”
What, then, can Keith McMillen Instruments’ supporters expect from BopPad when brought to the real world in its finalised form? Simply speaking, another music technology innovation that is accessible to everyone. Easy to get started, simply plug and play via USB (Universal Serial Bus) with any mobile device, laptop, or desktop computer. Critically, as a class-compliant MIDI device, BopPad works with all music software. Hardware-wise, Keith McMillen Instruments has helpfully built BopPad to travel. Measuring merely 10 inches (25.4 centimetres) in diameter and weighing in at less than one pound (454 grams), its rugged and portable form factor makes it the perfect percussive partner for on-the-go creativity… coming to stores sometime soon if those previous Kickstarter campaign successes are anything to go by. But, by pledging to back its Kickstarter campaign to the tune of $150 USD (or more), in all likelihood it will be possible to get one sooner at the lowest pricing possible. Pledge today and prepare to play percussion in a way you’ve never played percussion before!

Explore and support the Kickstarter campaign for Keith McMillen Instruments’ BopPad project here: https://www.kickstarter.com/projects/kmi/boppad-smart-fabric-drum-pad-from-keith-mcmillen
Watch Keith McMillen Instruments’ Kickstarter video for BopPad here: https://youtu.be/5aajourRSmY
For more in-depth information, please visit KMI Labs’ BopPad project webpage here: https://www.keithmcmillen.com/labs/boppad/

Groove3 Blackbird Academy Foundation Series: Mic Choices and Placement

By
Bryan
-

A lot of tutorials focus on mixing, but one of the more important topics that are all too often looked past is GETTING THE AUDIO RIGHT AT THE SOURCE. This very important topic can shave hours off of mixing. Groove3 and the Blackbird Academy have made a video series that addresses this.

Hal Leonard has released a new installment of The Blackbird Foundation Series at Groove3: Mic Choices & Placement. Taught by The Blackbird Academy Co-Director and Instructor Kevin Becka, this new course covers the essential information need to choose and place the right microphone to get a great sound at the source.

The course is broken up into 9 easy-to-digest tutorials, each not longer than 5 minutes, ideal for learning throughout the day when time allows. Topics include:
  • Microphone features: phantom power, front and side address, on- and off-axis
  • Frequency Response & Directionality: polar patterns and how they affect the quality of your recording
  • Proximity Effect and why no two mics sound the same
  • Voicing, Roll-Off & Pad
  • Mono & Stereo Placement
  • Specialty mics
Kevin Becka leads the tutorials at an easy-to-follow speed, accompanied by professional video and great visuals from Blackbird Studios in the heart of music town Nashville, TN.
Now available at Groove3.com:
$15.00 for purchase or available with Groove3’s All Access Pass for $15/month

Pro Tools 12.6

By
Bryan
-

Pro Tools keeps adding the features with the upcoming 12.6 update. The “industry standard” DAW is definitely barking back at the naysayers that have accused the company of being “behind the curve”. This update should quiet them down with new editing and recording upgrades to make working in the box faster and more efficient.

Apply real-time effects to clips
With the new Clip Effects feature, you can apply real-time EQ and dynamics to a single clip or clip group on your timeline, enabling you to assign different settings across multiple clips on a track. (Pro Tools | HD only)
Single-system re-recorder workflows – in the box
With Pro Tools 12.6 you can achieve pristine, click-free sound by completing all single-system post re-recorder workflows “in the box”. The system calibrates and time aligns your stems, so there are no latency or audio artifacts when you punch in and out or switch tracks. (Pro Tools | HDX only)
Edit layers of audio more easily
A new multi-layer editing mode makes it easier than ever to handle overlapping clips. Quickly clear overlaps, heal clips, trim starts and ends, and get faster access across multiple playlists with new key commands.
Edit playlists more easily
It’s now easier than ever to access and manage all of your playlists in Pro Tools. Quickly switch between playlists with new key commands. Easily scan and verify if there are multiple playlists on any given track with new visual indicators. And automatically send overlapped clips to new or existing playlists.
Easily adjust fades in real-time
With Pro Tools 12.6, you can quickly adjust a fade in, fade out, or the shape of a crossfade directly in the Edit window using the Smart Tool – with real-time waveform updates.
Pro Tools 12.6 includes new Task Manager and Freeze status icons in the edit window, stability improvements, and more.
Introducing standalone Pro Tools | HD software
New standalone purchasing options for Pro Tools | HD software make it more affordable and flexible than ever to get your hands on the industry’s premier recording, editing, and mixing toolset. You can now purchase a perpetual license of Pro Tools | HD software and create, edit, and mix anywhere – or subscribe on a low-cost annual basis and use the software only when you need it. The choice is yours.
Reduced Pricing and Options for Pro Tools | HD – Get your tools, your way
For audio professionals that need guaranteed performance, extremely low latency, and the ability to work with massive channel counts, there’s never been a better time to buy Pro Tools | HDX or HD Native. We’ve lowered the pricing on HDX and HD Native hardware, so you can experience the highest performance of any host-based audio workstation – at a price that fits your budget.

For more information, visit http://www.avid.com/pro-tools

McDSP ML8000 Multi-Band Limiter

By
Bryan
-

Colin McDowell has some of the most recognizable plugins (not just because of the green color) and has released a new multi-band limiter in the ML8000

McDSP is proud to announce the release of the ML8000 Advanced Limiter. The ML8000 is the next generation of limiter technology, using two completely separate stages of processing for significantly improved peak level adjustment.
The first stage of the ML8000, the Multi-band Limiter, uses 8 bands of active processing for superior phase response over traditional cross-over based designs. The second stage of the ML8000, the Master Limiter, is a precise recreation of the patented ML4000 limiter algorithm, right down to the limiter modes. Additional features include unique band Focus modes, filter design enhancements to further reduce peak distortion, and the ability to set all multi-band threshold values to band input levels instantly. Despite the additional stages of limiting and multi-band processing, the ML8000 has the lowest latency in its class.

 
The ML8000 will be available for an introductory price of $129 Native and $229 HD until September 30th, 2016.
More information is available at www.mcdsp.com.

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