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Arturia KeyLab 88

By
Bryan
-

Arturia

GRENOBLE, FRANCE: music software and hardware company Arturia is proud to announce availability of KeyLab 88 — its top-of-the-range, professional-grade, 88-note hammer-action hybrid MIDI keyboard controller that comes complete with Arturia’s acclaimed Analog Lab software synthesizer solution and more besides — as of February 24…
Since first turning heads and tempting ivory-tinkling types when making its debut at Musikmesse 2014 in Frankfurt, Germany, KeyLab 88 is what musicians the world over have been waiting for — from virtuosic performance to tightly integrated software control, its appeal is far reaching. Just like its namesake 88-note keyboard.
Thanks to the top-quality, hammer-action Fatar keybed with aftertouch, professional keyboard players will feel right at home here. Clearly, KeyLab 88 is the ideal companion for demanding piano playing — all the more so since the first 3,000 units shipped come complete with two superb-sounding virtual instruments. In the first instance, Grand Piano Model D from fellow French developer UVI delivers the sought-after sound of the superlative Steinway Model D concert grand piano with all the warmth, expressiveness, and detail of the real thing, thanks to deep multi-sampling, precision mastering, and advanced scripting. Secondly, Pianoteq 5 Stage is a physical modelling-based virtual instrument that provides acoustic and electric piano recreations as well as chromatic instruments. Indeed, KeyLab 88 represents a serious solution for today’s technology-savvy pianists — performance and practicality living in perfect harmony, you could say.
But better still, KeyLab 88 comes complete with Arturia’s acclaimed Analog Lab, an abundantly powerful software synthesizer solution with 6,000-plus presets by internationally-renowned sound designers derived from Arturia’s award-winning range of Analog Classics. These include the TAE® (True Analog Emulation) synthesis-powered Mini V (MinimoogTM monosynth emulation), Wurlitzer V (virtually bringing back to life the well-known ‘Wurly’ electric piano), and much more… making for the perfect pairing: professional hybrid synthesizer. Similar to its smaller KeyLab siblings, KeyLab 88 offers the immediacy of a hardware synthesizer combined with the flexibility of a software-based solution. It is preassigned to work with Analog Lab from the get-go, giving users instant in-depth control over key sound parameters, such as filter cutoff, resonance, and adjusting envelopes, et cetera, courtesy of its supportive selection of knobs and sliders, 16 backlit pressure-sensitive pads, plus an informative LED screen.
Arturia has pushed the design envelope with well-thought-through added touches such as an attachable shelf extension to create a work surface suited to comfortably accommodating a laptop or even a lead synth such as Arturia’s compact and bijou MicroBrute monosynth. Moreover, this extension even has a rubber base to prevent slippage during energetic performances! Meanwhile, music readers will appreciate an attachable sizeable music stand that is capable of holding the largest of songbooks but equally works well as a tablet holder, both in portrait mode for the environmentally-friendly sheet music app user or landscape mode for fans of iOS synths, such as Arturia’s own iMini, iSEM, and iProphet iPad apps, for example.
Either way, KeyLab 88 ensures its users have everything they need, whatever their musical needs. Far more than just another MIDI keyboard controller, the road-ready aluminium and wood-constructed KeyLab 88 has been designed to take its rightful place at the centre of any studio or stage setup as the premier control centre for the modern musician.

KeyLab 88 is available to purchase for €699.00 EUR/$699.00 USD from any authorised Arturia dealer or directly online from here: http://www.arturia.com/store/hybrid-synths/keylab88
For more detailed information, please visit the KeyLab 88 product webpage here: http://www.arturia.com/products/hybrid-synths/keylab88

Drumatom 2

By
Bryan
-

Drumatom is definitely a polarizing plugin. Some people swear by it, others embrace the sound of mic bleed. I can definitely see the use, especially with drum replacement software. Now Plugin Alliance have heard your suggestions and have incorporated major features in the new version.

Drumatom, the world’s first microphone leakage suppression tool for multichannel drum recordings, just got a MAJOR upgrade!  The drumatom2 application provides faster analysis (25-50% faster depending on CPU power), algorithm improvements and an improved workflow.  This is a free upgrade to all registered users of drumatom!
Perhaps the biggest news however, is the release of the new companion drumatom player plugin, which allows you to adjust the bleed reduction from inside your DAW!  The new player plugin imports .dls files, which have been created by the drumatom2 application’s analysis process, so you can control the bleed of each track, as well as the overall bleed, while listening to the rest of your mix!  This has been the #1 request of drumatom users and we are thrilled to announce that it’s now here.
The drumatom player plugin requires .dls files created by the drumatom app so you must either have the app, or be working with a studio who delivers tracks to you along with accompanying .dls files.  The player plugin gives you the ability to dial in the amount of bleed to taste for each track while listening to the rest of your mix.  For some projects you might want more bleed than others to preserve the vibe so being able to adjust bleed in context is quite helpful.

Price: $299.00 (free upgrade for existing users)
The drumatom player supports all major formats (AAX, AU, VST) and is available on Plugin Alliance now for $99.
For more information, visit http://plugin-alliance.com/en/products/accusonus_drumatom_v2.html

Review: Antares Auto-Tune 8

By
Bryan
-

In more recent years, the uses of pitch correction have gone from simply a tool to polish up a vocal, to an instrument in its own right. Even though other competitors have come along with different approaches, Auto-Tune has remained a household name, even going as far as becoming a scapegoat for purists. Whether you’re on one side, the other, or in the middle; chances are if you work in audio, you will have to encounter some form of the tool. So why not know what the options are in the new Auto-Tune 8? The improvements might surprise you.
 
Auto-Tune 8 is available in all the flavors needed for pretty much any DAW and installation is a breeze. You’ll only need an ilok 2 for the license. Although I use Auto-Tune EFX3 (Review HERE) constantly for effects and quick tuning, I hadn’t really tried the full-blown version beyond just a few tests of Auto-Tune 7. I was surprised by the amount of changes that had been introduced.
 
The interface has been cleaned up quite a bit, moving away from the “late 90’s” look of plugins and into a more modern look. All of the same controls made it over from Auto-Tune 7, as well as the Graphical Mode, that allows for complete control over every note and even time in the performance.
 
Some improvements made to Automatic Mode are the Flex-Tune Pitch Correction Technology and Low Latency Monitoring. Graphical Mode has quite a list of added features we will go over in a little while. While Auto-Tune is used mainly for vocals, I did find the instrument input type works very well with single note instruments. Sorry guys, still no algorithm for chorded instruments and harmonies can either be obtained by copying duplicate tracks using Graphical Mode, or buying the Antares Avox Harmony Plugin. I picked up a trial of the Harmony plugin and found it to be more than efficient in creating harmonies. Let’s take a peek under the hood and see what new features we have in version 8.
 
Automatic Mode
Sometimes when tracking, factors like fatigue, nerves, and becoming a little too immersed in the moment cause vocalists to vary from the straight and narrow. Even apart from that, there may be times where a person would want to use the Auto-Tune effect as part of their performance when tracking and want to ensure they’re getting the correct results out of the gate. Low Latency mode is a huge help with this. The gap between what the singer is singing and what is coming back to them in the headphones is significantly reduced, giving you the ability to use Auto-Tune during live sessions with no hassles. Now you can place Auto-Tune 8 on the track allow the singer to either employ Auto-Tune to slightly correct notes or use it at a performance tool.
 
The Flex-Tune Pitch Correction knob is a huge improvement over version 7, making the upgrade to 8 a no-brainer. In earlier versions, when I had to get heavy handed with correcting a… well… a very “expressive” singer as I call it, I would find that when I dug in harder, Auto-Tune would do what its made to do of course, and correct every single note leading to the note the “expressive” singer would be aiming for next. This would give you the effect of sliding your hands down a mono-synth, and sounded very unnatural. Flex-Tune works as a “pitch gate” if you will – the more you turn the knob clockwise, the more freedom in between the actual notes you will get. You can even go all the way clockwise to where no pitch correction would be applied leading up to melody notes. This allows the emotion and nuances of a singers raw performance to cut through while still catching those times where the vocal gets a little out of hand. I still love the Humanize, Natural Vibrato and Ignore Targeting Vibrato controls to tailor the track but the Flex-Tune takes all of these controls to a new level.
 
Graphical Mode
Graphical mode has some stiff competition in other pitch correction manufacturers’ versions, but they’re still fighting for that top spot with this list of improvements in Version 8. One that immediately stuck out to me was the Audio Feedback. Now instead of just using your eyes and starting and stopping the track, Audio Feedback will play a tone of the pitch, allowing you to rely more on your ears for editing. On top of Audio Feedback, you also can now edit notes during playback, which is huge for people who like to loop a phrase to determine best results. The timeline resolution has been upgraded to 16th notes for editing. Lastly, the visuals have been upgraded to let you hide or show the Envelope Display and the Amplitude Envelope in the edit window.
 
As a whole, these are great steps in the right direction and will certainly increase your workflow and quality of tracks. Another headache they’ve eliminated is wondering when the next update is released. Auto-Tune 8 will let you know when there’s an update or upgrade upon opening the plugin in your DAW.
 
In Use
So what do we think about all of this? Well… the Flex-Tune and Low Latency are worth their weight in gold. These two features alone add a whole new level of versatility. In versions before, I had much more trouble using automatic mode to subtly correct a track. I would get too many strays. From there I would go into graphical mode to fix those issues manually but I lacked the features I was used to in other companies’ pitch correction plugins. Now with the new features in graphical mode, I can set an automatic correction, go in with graphical mode on the parts that are a little too far gone for automatic, and call it a day. Now I will say that graphical mode takes quite a bit of patience to learn and some of the editing tools felt laid out unorthodox in their use; but once you’ve worked with it enough, you will find that the features are solid and the results are close, if not better than the competition. Transitions from lower to higher register notes are very smooth and do not display too many artifacts.
 
As a whole tool, Auto-Tune 8 is still one of the most diverse pitch corrections plugins out there. A beginner can go from just using automatic mode out of the box and get amazing results, move into graphical mode slowly, and before long master the art. Overall Auto-Tune 8 is an immense improvement over version 7, all while still fighting for its top spot. The graphical mode may have a learning curve, but it works every bit as well as the competition. All of this is accomplished with minimal DSP and glitches.

Slate Digital Virtual Console Collection 2.0

By
Bryan
-

The day is finally here! After waiting for what seemed like an eternity, VCC 2.0 is available as an upgrade in Virtual Mix Rack. All you have to do is grab a copy of VMR through your login in the user area, authorize it, and you’re off to the races with VCC.

The Digital Audio Workstation is one of the most revolutionary products in the history of recording. But DAW’s digital mixer is sonically neutral, unlike the lush analog mixing consoles used by top pros. In 2011, Slate Digital released the Virtual Console Collection, a two plugin package that brought the authentic analog sound of five mixing consoles to the DAW mixer. It has since become an industry standard that has been used on tons of hit records from Taylor Swift to the Beach Boys.
Now in 2015, we are proud to announce the Virtual Console Collection 2.0. This new update adds a sixth console emulation of a famous early eighties British mixing desk, as well as a host of new features. It’s also available in all major DAW formats including VST, AU, RTAS, and AAX.
The VCC is the easiest way to add analog vibe, depth, tone, space, and clarity to your mix. Simply put the CHANNEL plugin on your individual channels and the MIXBUSS plugin on your master fader, choose your favorite console, and your mix will transform from digital to analog before your ears.

 

Price: $149.00 Upgrade is free for current VCC users.
For more information, visit http://www.slatedigital.com/products/vcc

Tracktion T6

By
Bryan
-

I’ve been learning Tracktion T5 now for several months and am very impressed with the DAW. For the price there isn’t another DAW with this much power and features. Now with T6, you get loaded with all new features; so much that each new license comes with a T5 license to allow for easy transition. I can’t wait to see all the new upgrades.

Tracktion 6 (T6), the latest version of our highly acclaimed, single-screen digital audio workstation, has arrived. Packing major improvements to the interface, automation, comp grouping, editing, time management and much more. A typical left-to-right T6 edit screen displaying inputs, wave forms, MIDI notes, automation, plug-in effects and a mixer.
The Tip of the Iceberg
There are a lot of new features in T6 but these are just the beginning… To speed up the development process, reduce the incidence of early bugs and keep your creative juices flowing, we’ll be continually introducing new T6 features throughout the year. As such, each T6 license will also include a T5 license, for those who might want to begin with the current version and change to T6 later.
Upgrade to T6 Today
For T6, we’ve added most of the features previously requested by Tracktion users as well as several new ideas. Click here to purchase a dual T5/T6 license. $30 upgrade or $60 initial purchase. Free upgrades to anyone who has purchased T5 since January 1, 2015. COMPATIBILITY NOTE: T1 through T5 edits are forward compatible with T6 but, T6 edits are not backward compatible to earlier versions. This is because of significant changes and improvements to the underlying T6 code.
Includes Melodyne Essential
As with the addition to T5 last fall, all new Tracktion licenses will include Melodyne Essential, the world’s leading time and pitch editor, free of charge (a $99 value). Like Tracktion, the Melodyne interface is simple, intuitive and musical to use. However, working closely with Celemony, Melodyne’s parent company, we’ve integrated their Audio Random Access (ARA) capability into T5/T6to take this a step further. With ARA, the Melodyne plug-in behaves as part of the Tracktionplatform, allowing the exchange of information about the audio file, tempo, pitch, rhythm and much more.
Includes MARKETPLACE
MARKETPLACE enables the download of information, software, plug-ins, sounds, instruments as well as other goods and services without ever leaving the Tracktionapplication. That’s right! While working in Tracktion 5 or 6, you can quickly and easily discover, audition, purchase and download new musical assets from a wide variety of vendors, without interrupting your creative flow. This capability has never before been available in a professional audio application. It will greatly improve your access to a wider palette of sounds and ideas. Products like our own Master Mix plug-in (above, right), and much more, are available through the MARKETPLACE tab.

Price: $60.00 Initial Purchase / $30.00 Upgrade
For more information, visit http://www.tracktion.com

Steven Slate Blackbird Studio Drums

By
Bryan
-

This could be one of the most useful libraries across all genres Steven Slate has released. Blackbird Studios has grown to the point of even hosting an academy that trains engineers across all experience levels. Now John McBride, founder of Blackbird academy has opened his massive collection of gear and mics to produce the new Steven Slate Blackbird Studio Drums.

The legendary Blackbird Studios has been the studio of choice for the industry’s greatest artists, from Pearl Jam to Bruce Springsteen. With eight rooms consisting of the world’s most coveted gear and musical instruments as well as fourteen hundred microphones, Blackbird has quickly become known as one of the most prestigious recording facilities in the world.
In the Spring of 2014, Blackbird Founder John McBride recorded the Blackbird Drums Expansion with drummer Chris Tyrell of Lady Antebellum for the STEVEN SLATE DRUMS 4 Virtual Instrument and TRIGGER drum replacer plugin. Utilizing three of Blackbird’s classic rooms including the chambers of rooms A and D, tons of vintage mics and gear, classic drum kits from an era spanning fifty years, and of course, John’s amazing engineering talent, Blackbird Drums is one of the most amazing drum libraries you’ll ever experience. From vintage to modern and everything in between, Slate Drums users will savor the sounds of:
Six New Kick Drum Samples
Ten New Snare Samples
Seven New Sets of Toms
Two New Hi Hats
One New Ride
Four New Crashes
Rooms A, C, and D were used.

Price: $99.00
For more information, visit http://stevenslatedrums.com/blackbird.php

Antares Auto-Tune 8

By
Bryan
-

I know… I know… I’m late to the party on this one. The press release somehow slipped through my inbox without me posting it, but it warrants a mention (as well as a review coming soon). Antares has been the biggest name in pitch correction software in both vocal applications and even has recently ventured into the guitar world. Now they have their answer to Melodyne with version 8 of their flagship software, Auto-Tune.

Antares Audio Technologies announces the release of Auto-Tune 8, the latest version of the world’s leading recording software plugin for creating perfectly tuned, natural sounding recordings and dramatic vocal effects. The release of Auto-Tune 8 introduces a number of innovative features that build on the product’s legacy as the best-selling audio plugin of all-time.
The most technologically advanced of these new features, Flex-Tune, allows users to control the level of correction applied to notes that are out of tune. This feature allows singers a greater freedom when expressing a song’s emotional moments in vocal recordings.
“We are extremely excited about the release of Auto-Tune 8,” said Dr. Andy Hildebrand, Antares CEO and Chief Scientist. “While Auto-Tune has always provided the most natural-sounding and pristine correction available, the introduction of Flex-Tune establishes an entirely new benchmark for natural real-time pitch correction. With Flex-Tune, singers can count on seamless Auto-Tune correction where needed, but know that their unique vocal expressivity will remain intact.”
Hildebrand first developed Auto-Tune in 1996. Drawing on a background in Digital Signal Processing (DSP), he developed a method for how to detect and modify pitch, which brought vocal recordings into perfect intonation. Updates and new releases over the years saw advances to the plugin, culminating with the release of Auto- Tune 8.
This most recent version of Auto-Tune also features a new, ultra-low latency mode that provides real time correction for tracking and live performance, editing tools that are now active during playback and an even easier to use and more customizable workflow.
Auto-Tune 8 works in two modes, an Automatic mode designed to be intuitive for all user levels and a more technical Graphical Mode for advanced refining. New features include:

  • Flex-Tune: The next revolution in natural pitch correction. (Automatic)
  • Ultra low-latency mode for virtually instant response in live performance orwhen tracking in the studio. (Automatic)
  • Editing tools that are now active during playback for the most immediate editingexperience (Graphical)
  • Audio feedback of selected target pitches when using Note Objects (Graphical)
  • New interface customization options (Graphical)

Auto-Tune 8 works with most recording software programs, including Pro Tools, Logic, Cubase & GarageBand and is available now for AAX Native (Mac OSX and PC), VST3 (Mac OSX and PC) and Audio Units (Mac OS X) at a U.S. MSRP of $399.00.
Purchase and upgrade to Auto-Tune 8 are available through certified dealers and on the Antares Audio Technologies website http://www.antarestech.com.
For more information, visit Auto-Tune 8’s product page http://www.antarestech.com/products/detail.php?product=Auto-Tune_8_66

Kush Audio Electra DSP Plugin

By
Bryan
-

If you want something done right, you gotta do it yourself. Kush is back at it again by modeling one of their own brainchildren, the Electra Transient EQ. This EQ is very unique in its own right by offering 5 uniquely tuned frequency bands, a unique high pass filter, and (you guessed it) a uniquely behaving gain that focuses the frequency of your choice as you crank the level. Like a fine wine and cheese, Electra pairs the best parts of Equalization and Transients.

The Electra DSP is arguably the punchiest, tightest, most vibey eq to ever be found in digital form.  Meticulously modeled by UBK himself, this plugin is as close as it gets to the critically acclaimed and incredibly popular hardware of the same name.
The midrange filters automatically adjust their bandwidth as you vary the gain, and have an uncanny ability to find magical ‘pockets of soul’ inside the music and draw them forward, effortlessly.  This eq’s low end is absurdly tight and hits hard, your kicks and and bass will come alive.  The high shelf is electric and sparkling, and will wake up the sleepiest vocal or mix.  And if you thought all high-pass filters were the same (and boring), wait until you hear this one’s smooth magic.
Only Kush could do justice to their own hardware, and much like the Clariphonic DSP that came before, the Electra DSP delivers extraordinary power in an incredibly affordable package.

For more information, and to buy, visit http://www.thehouseofkush.com/#!electra-dsp/cef6
While we’re on the topic of Kush, you really should start listening to Kush Audio Creator Gregory Scott’s podcast with Nathan Schreier, UBK Happy Funtime Hour. If you’ve ever been curious to get extremely useful information by two professionals stuck in a room with a gas leak (in a good way), then you need to  subscribe and binge listen to the previous 22 episodes. At least go listen to Episode 22 “This is the sound of Neve”
www.UBKHappyFunTimeHour.com

Waves dbx 160 Plugin

By
Bryan
-

 

The dbx 160 is up there with the 1176 as one of the greats, especially for drums. There’s a reason Vintage King can’t keep the original units on shelves. On top of that most of us that own small project studios usually need things like food and mortgages and can’t necessarily go pick up the originals. Waves has got the rest of us covered with their closely modeled rendition of the 160.

Considered one of the best drum compressors ever, the original dbx® 160 stands tall among its peers, boasting a very clean sound with minimum THD. The fast-acting dbx® 160 compressor was used in almost every major recording in the late ‘70s and throughout the ‘80s, and later models in the 160 series also became industry standards.
Created in collaboration with dbx®, the Waves dbx® 160 compressor / limiter plugin is an authentic-sounding software version of this storied piece of hardware. In addition to its meticulous modeling of the vintage compressor, the Waves dbx® 160 plugin incorporates unique and exclusive features not found in the original hardware, such as Waves’ MS Matrix, mix and noise controls, and a stereo component. The result is a must-have compressor / limiter for use in the studio, live, or both.
“To get closer to the realism of live performance” has been a goal of dbx® since the company’s inception in the 1970s. This goal has come full circle with the Waves dbx® 160 compressor / limiter plugin, which enables you to achieve stunning realism in the studio or to add nuance to an actual live performance.

Introductory price $99.00 (Regularly $150.00)
For more information and to purchase, visit http://www.waves.com/plugins/dbx-160-compressor-limiter#dbx-160-plugin-overview-with-eddie-kramer
Heres a video!

Focusrite Red 2 & 3

By
Bryan
-

Do you own any of the newer Focusrite interfaces? Well if you don’t you might want to go pick one up because Focusrite is offering the Red 2 and 3 plugins as a free upgrade. This also means Pro Tools 11 support!

Focusrite introduces the Red 2 & Red 3 Plug-in Suite, featuring 64-bit AU, VST and AAX compatibility. These are the first Focusrite plug-ins to include AAX support, making them compatible with Pro Tools® 10 and 11. With its introduction, the new Red 2 & Red 3 Plug-in Suite is bundled with all Focusrite Scarlett, Saffire, Forte, and Clarett audio interfaces.
The new plug-ins are accurate models of Focusrite’s classic Red 2 equalizer and Red 3 compressor hardware. Coveted by producers and engineers for their exceptional clarity and versatility, the original units are prized fixtures in professional recording studios the world over. Now, the Red 2 & Red 3 Plug-in Suite lets you exploit the famous natural sound of the originals, conveniently from within your audio software.
The plug-ins faithfully reproduce the sonic qualities of the hardware, allowing you to get detailed tonal control of your mix. The Red 2 EQ is a sweet sounding 6-band design, with high/low pass filters, high/low frequency shelves, and fully parametric low-mid, and high-mid frequency bands. The Red 3 compressor is a VCA compressor design, excellent for natural sounding dynamic control of drums, bass, vocals, and acoustic instruments.
Registered Scarlett, Saffire, and Forte customers* can download the new plug-ins for free, adding to their Focusrite software bundles. Focusrite are acclaimed for their best-in-class audio interfaces, from Scarlett to Clarett. Now, with the addition of AAX plug-ins, Focusrite audio interfaces are reaffirmed as perfect partners for Pro Tools®.
The Red 2 & Red 3 Plug-in Suite joins Focusrite’s AU, VST, and RTAS compatible Midnight and Scarlett Plug-in Suites, making Focusrite interfaces ideally suited for all major audio software.
*Scarlett Solo, Scarlett 2i2, Scarlett 2i4, Scarlett 6i6, Scarlett 18i8, Scarlett 18i20, Scarlett Studio, Scarlett Solo Studio Pack, Saffire Pro 14, Saffire Pro 24, Saffire Pro 26, Saffire Pro 40, Liquid Saffire 56, and Forte.
*Pro Tools® is a trademark or registered trademark of Avid Technology, Inc. or its subsidiaries in the United States and/or other countries.

A link for more information and how to grab your copy is available at http://us.focusrite.com/perfect-partners

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