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XILS-Lab: XILS 4

By
Bryan
-
XILS Lab is at it again with a new emulation of the VCS4. The company has been making strides in emulation with great versions of other classic gear as well as some new plugins such as RAMSES, their rhythm based gating and envelope effects plugin.
GRENOBLE, FRANCE: music software company XILS-lab is proud to announce availability of XILS 4 — an authentic software emulation of the legendary VCS4, a ‘dual VCS3’ analogue matrix modular synthesizer prototyped by EMS back in 1969, but never commercially released — as of May 19…
EMS (Electronic Music Studios), a British company founded by the pioneering Peter Zinovieff, made musical history in 1969 with its introduction of the VCS3, the first portable synthesizer commercially available anywhere in the world. Its innovative modular matrix-based patchboard dispensed with the telephone exchange-like cabling of other (much larger) modular systems in favour of making connections with (removable) coloured pins, so it could be comfortably housed in a small wooden (solid afrormosia) cabinet.
Needless to say, the (hi)story of the EMS VCS3 is well documented, with XILS-lab later playing its part in resurrecting its still-sought-after sound with its cost-conscious and award-winning XILS 3 software emulation for Mac (OS X 10.4 and above) and PC (Windows 7, Vista, and XP) proving popular with both first-time buyers beginning a wonderfully in-depth journey into the wonderful world of modular synthesis and also seasoned synth explorers, including renowned sound designer Richard Devine and original VCS3 aficionado Tim Blake (Hawkwind), and even Peter Zinovieff himself, who commented kindly: “A great step forward!”
Not so well documented, though, is the stuff of legend: the 1969-vintage VCS4 was EMS designer David Cockerell’s so-called ‘Live Performance Module’, comprising two VCS3s sat side by side, together with a five-octave keyboard, a mixer, and a signal-processing unit, all housed in a single wooden cabinet. Only one prototype was ever produced, its ear-opening sounds lost in the sands of time… until now, that is!
By being based on two intricate and interacting VCS3 (‘Synthi’) cores — following in the fanciful footsteps of its one-off analogue ancestor to a tee, XILS-lab’s XILS 4 favourably emulates EMS’ VCS4. Indeed, those two cores can be set to work side by side or operate in serial (with one feeding the other). Each and every module on one side can be used to modulate or feed anything on the other side with stunning sound possibilities plus weird and wonderful effects readily available in abundance as a direct result. That said, XILS 4 shows its true 21st Century colours by also allowing amount settings to be individually applied to each patch ‘pin’. Providing patchboard power par excellence to an already special soft synth shows that there is clearly so much more to XILS 4 than solely emulating vintage hardware — rare as the vintage hardware in question clearly is. Little wonder, then, that XILS 4 is billed by its creator as being the Ultimate Analog Matrix Modular Synthesizer!
XILS-lab has sought to take things severals steps further still by coupling those cores with the SEQUENCER 256 module, inspired by EMS’ trailblazing Synthi Sequencer 256 namesake. Needless to say, this three-layer sequencer with analogue-to-digital and digital-to-analogue converters to enable digital processing of control voltages to drive multiple analogue synthesizers or multiple parameters with storage of up to 256 ‘events’ was well ahead of its time when released in 1971. Here in the virtual world, XILS-lab has well and truly transported it to the present day with three independent layers, slew rates, and recording modes, together with added abilities like sequencer layers acting as modulation sources in a dedicated SEQ MATRIX — matchless, even by today’s most sophisticated DAW standards!
So is that all? No, not at all! Adding a second ‘pin matrix’, two additional envelopes, an LFO, comprehensive SAMPLE AND HOLD module, and VOLTAGE PROCESSOR, plus several new input modules — including GATE, ENVELOPE FOLLOWER, and PITCH TRACKER — means that there are hundreds of additional connections available to the discerning synthesist set on exploring XILS 4 to the full as a superlative soft synth or as a powerful effects processor plug-in in its own right. The fact that there are over 1,140 possible connections per patch makes for a literal lifetime of programming possibilities that will surely far outlast the host computer concerned, though those in need of a helping hand have easy access to almost 700 professionally-programmed presets from world-renowned sound designers, including the complete XILS 3 factory library and over 350 presets specifically designed for XILS 4. A selection of tutorial-style patches are also available to help users seeking to take their first tentative steps towards scaling the heady heights of this mountainous modular monster of a soft synth!
Simply put, with a whole host of modules and associated far-reaching functionality — for starters, 12 aliasing-free oscillators, grouped in six pairs with wave-shaping and hard sync — yesteryear’s impossibilities have become today’s possibilities with XILS 4… a great step forward, indeed! A giant leap for modular synthesis software, some might say.
XILS 4 is available to purchase as an eLicenser or iLok copy-protected virtual instrument and effects plug-in for an introductory discounted price of €149.00 EUR (rising to €179.00 EUR on June 17, 2014) from the XILS-lab web store here: http://www.xils-lab.com/pages/STORE.html (Note that this time-limited offer also includes the XILISTICS sound bank with 160-plus presets worth €25.00 EUR, plus a free USB-eLicenser copy-protection dongle!)
 

XILS 3 owners can upgrade to XILS 4 for an introductory price of €29.00 EUR (rising to €49.00 EUR on June 17, 2014). XILS 4 can be directly downloaded as a 32- and 64-bit-compatible virtual instrument and effects plug-in for Mac (AAX, AU, RTAS, VST) and Windows (AAX, RTAS, VST) from here: http://www.xils-lab.com/pages/XILS4_Download.html

 

Check out several informative XILS 4 tutorial videos here: http://www.xils-lab.com/pages/XILS4_Videos.html

Review: IK Multimedia T-Racks EQ73 & 81

By
Bryan
-

The old military spec paint, the iconic combination of red and blue Marconi knobs with grey fluted concentric knobs – even people who aren’t in the business of recording can recognize the design. There is no doubt that these colors represent one of the biggest names in recording and thanks to Dave Grohl and his incredible movie, he has driven the price of the hardware sky high. Yes, we all know the movie was great and his intentions were pure, but now this British staple in the pro audio world is even more out of most people’s price range than ever. On the other hand, the popularity has caused plugin developers to take a long hard look at the gear and design emulations. This brings us to IK Multimedia’s T-Racks EQ73 and 81.
 
These channel strips IK Multimedia have painstakingly modeled began as big consoles during the golden age of recording, when you needed a versatile preamp and EQ section spread out over many channels to accommodate live sessions. Due to wear and tear over the years combined with multi-track recording, where instruments are tracked one at a time, these channel strips have been chopped from their large format consoles and sold individually or in sidecars (lower track count versions of the original made for tracking drums or summing mixes through). The 1073 and 1081 are two of the most searched items online for analog enthusiasts the world over, many of them building their own interpretations of these channel strips. IK Multimedia has increased their lineup of Custom Shop plugins with their versions of these two historic pieces of gear.
 
As part of the T-Racks Custom shop, these plugins are easy to install and come in all of the popular formats including AAX-32 and 64. Each plugin offers both mono and stereo operation with both standard and Mid-Side versions to take your classic rendition of this channel strip to new areas. This allows for you to add the analog sound and make room for centered tracks. It’s the best of both worlds with IK Multimedia. I will say so far from my experience to go easy on throwing these things all over your session because they will eat up resources fast. I’ve put 8 of them on a blank session in Pro Tools 11 and quickly started getting the high sign from Avid that I’ve run out of native processing power, even on my i7 Retina Macbook with 16gigs of RAM. Another issue I’ve come across is the graphics. It seems on most Retina screens that the plugin is just a little fuzzy and takes a little getting used to.
 
Seeing as these are recreations of the original, the controls are fairly straightforward. I did find myself trying to adjust the gain of each band using what I thought was the inside concentric knob on the frequency section. I don’t understand why the developers decided to place some parts of the controls concentric, while not making the gain controls for each band the same. It takes a little getting used to if you’re used to using the Universal Audio counterpart, but it doesn’t affect workflow too much. I just wish IK Multimedia would have made the layout more uniform in design. So other than the DSP issue and some nit picky design opinions on my part, lets get on to the individual plugins.
 
The EQ73:
The 1073 was the first iteration of the channel strips built into the A88 console in Wessex Studios. This console came about due to a change in the way the recording industry ran. In the beginning, the record companies would control every aspect of the recording down to the engineering of equipment. This has developed some great gear such as the hardware that shaped the sound of the Beatles, but as the record companies placed a tighter grip, the engineers soon started independent studios and needed gear. This is where Rupert Neve came in, designing what we know of as the 1073 channel strip.
 
In a day in age where you see EQs with countless banks of surgical bands, it’s nice to see a company getting back to what made music great. The EQ73 holds true to the traditional layout, giving you 3 bands of EQ, with the stepped low cut filter. IK has even gone as far as to emulate the gain staging of the input and output controls, giving you the ability to choose between the input or mic circuit, allowing you to push each individually for a more classic analog sound. You even get the same burning type break-over the original would give when pushed beyond its limits. This makes throwing a little dirt into the kick and snare on a set of drums easier than ever. It seems the mic option saturates the signal a little more, giving it a more loose sound and the input being faster with transient content. The EQ73 is definitely the minimalist sweetener that gives tracks the character they deserve. Drums seem to eat the gain staging up, enjoying being pushed just a little beyond its boundaries while acoustic guitars saturate to just the right amount. The bands of the EQ are very forgiving and not overbearing in the least, making most changes in frequency content broad and coherent to the rest of the content. Along the same lines, you will not be using this EQ to necessarily carve frequencies out of a mix. Just like all other versions of this piece of hardware, it is more used for character to add all of those catchwords everyone uses for analog pieces of gear. I found myself using a parametric EQ before this plugin to clean up some of the rough edges and using the EQ73 as a broad brush to reiterate the good parts, and it does that in spades. But what if you wanted to have your cake and eat it too with the EQ73? Well you’re in luck because IK Multimedia has also modeled the EQ81, the bigger brother to the EQ73.
 
The EQ81
The 1081 came about when engineers wanted more options to the already great 1073. This led to more EQ bands as well as filters, giving you everything the ole ’73 had but subscribing to the adage that more is… well… more. IK Multimedia have taken that approach one step further with the EQ81. This EQ is a little more involved and perfect for applications where you need a little tighter interaction with your signal. It features the same input and output section, low cut filters, but adds a concentric knob around the low cut to incorporate a high cut filter as well. You have also been upgraded with 4 bands of EQ that are stepped and selectable, taking your high EQ section from the 73’s 10K band to 15K. The mod bands also feature a button to narrow out your EQ bands for those times where you need to just cut or boost a smaller section of the band. The outer bands feature either the shelving or peaking, giving you even more tone sculpting powers. This EQ is perfect for drums and guitar signals where you need the tone of the EQ, but also want to get in there and pull some select frequencies out. I found myself using it a lot on acoustic guitars and bass, pulling out those annoying resonances but opening up the bands that count.
 
So overall I like them. They do exactly what you would expect out of an EQ that emulates an analog classic. The EQ81 even allows you to get slightly surgical in your mixing by narrowing the bands and cutting what you need. It’s good sometimes to get back to the basics and mix with a plugin that doesn’t give you a graphic interpretation, forcing your ears to do the deciding. Pushing the drive on the input is a nice added feature that is fairly unique to these units. I know the Scheps73 does it as well but this is a more scaled down, utilitarian version. I just wish I could put it across more tracks without my session running out of resources. I know modeling takes a toll on DSP, but when AAX coding is supposed to free up the pipelines, this particular plugin needs to run just a little more efficiently. I’ve had the pleasure of actually working on a few Neve consoles and channel strips and I can say these behave very similar to the ones I’ve used. I’ll definitely be putting these two on as many tracks as I can possibly manage in my sessions and welcome the added vibe these plugins place on tracks. I have no doubt that anyone that buys these plugins will be reaching for them once they place them on just about any given track for the first time. Out of all of the Neve type plugins, I like the EQ73 and 81 the best.
For more info visit http://www.ikmultimedia.com/products/treq81/ & http://www.ikmultimedia.com/products/treq73/

What I Learned from F. Reid Shippen

By
Bryan
-

“There are no mixing rock stars.”

 

This sentence resonates an attitude that is slowly falling by the wayside amid a vast landscape of social media and reality TV. It seems that everyone nowadays is performing to whatever crowd of friends, followers, and strangers… trying to be noticed and become the next big thing. Although this attitude is needed in most fields of the entertainment world, being an audio engineer requires a contradictory outlook. This can be a tough road for someone going into mixing with the wrong expectations.

 

F. Reid Shippen went into audio engineering simply because he liked doing it. “I just fell into it honestly. Engineering, that is, and then gravitated towards mixing after I discovered a talent for it.” After college, instead of following the path of least resistance and taking a day job, he set out straight for the music industry.

 

After landing an assistant engineer job and later offering a 100% refund if a client wasn’t happy with his mix, his career in mixing began. “I’ve always done this ever since I decided in college that I’d rather be interested than secure, anyway. I almost didn’t graduate school because I was working and interning and all that. This has never been a hobby.”

 

Combining his work ethic and the fact that working in the studio was his means of putting food on the table, he began to make a name in the industry; but even when you talk to him about all of the bigger projects, you see very quickly that he approaches every track with the same attention to detail and quality, A-list or not. “I don’t know that there’s any ‘establishing one’s self’ really. I believe in doing really great work all the time, for whomever. I don’t keep track of whose name is recognizable.”

 

In a fast paced, competitive industry, certainly it would be easy to get lost in being attached to the next big project especially once you have worked with artist like Switchfoot, Johnny Lang, and Eric Church; but he reflects that some of the projects that have had neither success or album sales have been the most enjoyable and rewarding.

 

If you spend any amount of time interacting with Shippen, you will quickly see a straight forward, to the point guy who is very down to earth. Through the spoils of success, he remains grounded and approachable, keeping the same New Jersey sharp wit despite moving to Nashville. Even though he has been taking on major label clients with name recognition, he still mixes indie projects and tries to realistically work within the confines of an artist’s budget.  “I’ve done it for very little, if I believe in the artist.  If you’re good at something, never do it for free – great advice I got one time from Joe Chiccarelli. That said, I ‘ve been very fortunate in this field, and I like to pay it forward as much as I can. Anyone who has a sweet house on the ocean or whatever can feel free to ask- bartering is a good thing.”

 

This pay-it-forward attitude carries over into his help to the less experienced in recording and mixing (such as myself). I was invited to join a recording group on a popular social media site and was very surprised to see his name come across frequently, giving advice to everyone from the budding engineer to the professional with a creative issue. He addressed each with no judgment and genuine concern, giving sage advice without overcomplicating the issue. I was blown away when I saw a Grammy award-winning engineer taking time out of his probably hectic schedule to give advice; but as I saw these interactions, I began to see a correlation with his mixing style… straight forward and to the point without overcomplicating the issue.

 

If you’ve listened to any of the songs in which he’s sat behind the console, you will hear the same no nonsense, direct approach that reflects his personality – an approach that brings out the artist’s best features and vision without all of the unnecessary filler. Even in situations where a song isn’t exactly his cup of tea he finds a way. “It doesn’t matter if I hate it. Any song is some one’s best effort, or heartbreak, or chance to communicate. I’m not here to judge, I’m here to see that their vision comes through. Mixing is a service industry. There are no mixing rock stars.”

 

There is a realism that comes in being able to separate how you feel about a song you are mixing. One has to be as objective as possible and see the track through the lack of personal connection to the source material.  Sometimes the genre of the source material can even pose obstacles.

 

Early in his career he found his way into Contemporary Christian Music, a genre that sometimes catches flack for being too plain and made strides in improving the way the music represented itself. When asked if there are pitfalls to certain genres and his philosophy on Contemporary Christian Music, he simply says: “There’s homogenization everywhere. I’ve been doing a lot less CCM and a lot more pop and country, and it’s there too… Music, food, fashion: commodification is a human tendency. At the core of CCM is the fact that you’re writing/singing/communicating about God. That’s no small thing. It should be amazing and emotional, just as much as, or even more so, than all songs should be. I go for the emotion, always.“

 

In going for the emotion, one can’t rely on any one way of doing things; the listener doesn’t care whether it’s in the box or on a console. They just want to feel the track. The Mix Engineer in all of us wants to find the magic recipe for a Shippen mix, but when prodded for an answer on his percentage of using outboard gear to plugins he really put things into perspective. He says, “I suck at math. I have no idea how to calculate that. Plus, why would you? Who cares? If an outboard box sounds right, I use that. If a plug sounds right, I use that. I’m just fortunate that I have access to both.” 

 

Flexibility is definitely key in a day and age where you have access to a myriad of digital and analog tools that many spend countless hours trying to argue the proper application of each. “I treat them both the same,”he says,“I turn knobs until it sounds good. In my experience, there’s tons of good plugs, the UA stuff is particularly killer as regards the “emulation-type” stuff; but it’s not the same thing. Thank God- that would be totally boring.“

 

Variety is  the spice of life and F. Reid Shippen has acquired a great arsenal in the rack. In 2009, he built a personal studio where most of his mixes are conducted and at the helm is every engineer’s dream, a very unique SSL 4000 console. “Yah, it’s killer”, he adds,“One of the best ones I’ve ever worked on sonically. It has some strange mods that shouldn’t make sense but they sound killer.” 

 

He also has a great collection of some of the hallowed pieces of gear from yesteryear and today, even some equipped with mods suited to fit his style. “My partner in Atomic Instrument, Norman Druce, is a gear modification Yoda. We’ve gotten into some crazy EQ curve and impedance stuff with the RETRO gear. Almost all my tube gear is modded by a guy named Arthur Sloatman at Midget Electronics who’s a mad genius. And I have some Toby Foster tube mics. He’s the best.” When asked if he has ever modded a piece of gear and ruined it he simply answered, “Nope, thankfully! Well maybe one… I’m not telling which one.”

 

But the gear doesn’t define the man. Sure it’s great to have some of the best gear at your disposal, but technique is just as important. Versatility is the name of the game and there is pretty much no genre that F. Reid Shippen hasn’t mixed. He accepts all types of projects with the attitude of stagnation being the enemy. While someone of his caliber of mixing could have his run of just about any project, he will take the good with the bad. When asked if he has ever received a project he has deemed “unmixable” he adds, “Yes, and it got sent back. However, that’s very rare. We can fix a lot of the heinous stuff. That’s why I love analog gear- it’s great for audio triage.”

 

But what is his secret? What does he do that sets him apart? There has to be some sort of formula or secret to being a 9-time Grammy award-winning mixer. After an assault of technical questions (believe me, I tried to ask the question every way I could possibly think) the answer comes out. “Well, the real secret is that there aren’t as many tricks as everyone thinks. For example- I asked my friend Gary Paczosa how he gets the amazing sounds on the Allison Krauss stuff. He says, “Well, you start with Allison Krauss, and Dan Tymanski, and Jerry Douglas… and you don’t get in the way.” What people forget is that they’re comparing their everyday to someone else’s highlight reel, and a lot of the time, that highlight reel has world-class players, songs, studios, gear and time. I don’t have any secrets. Just a lot of practice of what NOT to do!”

 

And on that answer I realized something. Something that at first was a relief, then momentarily turned to disappointment, but strangely ended inspirational and hopeful. Sometimes the answer is staring you right in the face. It just takes a realist, with insane work ethic and the right outlook to convey it. The real (but cliche) question is how much of your effort involves practicing what not to do?

 

F. Reid Shippen is a multiple Grammy award-winning engineer who also produces and is involved in artist development. He is a partner in Atomic Instrument, a company that builds better power sources for large consoles as well as tools for tracking and mixing. He lives in Nashville Tennessee and mixes out of his personal studio Robot Lemon, which runs exclusively on espresso and highly evolved analog gear.
For more info, keep an eye out for his site to relaunch http://www.RobotLemon.com
For more info on Atomic Instrument, visit  http://www.AtomicInstrument.com

Tone2 Synth Legends Soundset for Saurus

By
Bryan
-

Tone2 has done some great work with their entire line of software synths. Your proof is right here and here in the reviews we’ve posted. Now they’re pushing the limits a little further by using their own technology in modeling to recreate classic synths from the days of good ole analog.

Exploring Saurus’ True Analog capabilities the Synth Legends soundset takes you into the depths
of aged circuitry, modular setups and authentic analog, delivering 200 classic synth patches.
An inspiring collection of vintage instruments, Synth Legends perfectly mirrors the unique character
of analog hardware, replacing popular analog synths like the Moog, Oberheim,  Prophet 5, Korg MS20
and the Arp Odyssey.

Gritty basses, weaving arpeggios, expressive pads, screaming synths, dirty leads and vibrant brass,
providing you with all the sonic flavors of the analog era.

Highlights

* 200 presets by professional sounddesigners.
* Comfortable installation.
* Perfect integration into the user interface.
* Many patches can be ‘morphed’ using the modwheel.

Perfect for many genres, such as Old School Electronica, Soundtrack, Ambient, Techno, House, Funk,
Synth Pop and a wide variety of other music genres.

Price: $49.00
For more info please visit the Synth Legends product page: http://tone2.com/html/synth%20legends.html

IK Multimedia, Orange Amps Tiny Terror Giveaway

By
Bryan
-

We all like winning right? Well why not get in on IK Multimedia and Orange Amps latest giveaway. They’re not kidding around with this giveaway offering you two chances to win QUITE a bit of prizes.

April 23, 2014 – IK Multimedia, the global leader in digital modeling technology, announced a collaboration with Orange Amplification® to kick off the exciting release of AmpliTube Orange for iPhone/iPad by giving musicians the chance to win over $2200 in hardware and software music creation prizes! Entries will be accepted on the IK Multimedia website through April 30th, 2014!

“We’ve been creating amp-modeling gear for over 12 years now and you have GOT to hear it to believe us when we say: this is the best one yet – AmpliTube Orange is a real-time mobile Orange amplifier and effects studio featuring digital models of 5 classic and modern Orange guitar amplifiers and one Orange bass amplifier. Each amp and cab model has been meticulously recreated, both visually and in sound to deliver spot-on Orange tone any time, everywhere.” 

Davide Barbi, CTO IK Multimedia.

Prize package #1, $1400 in value:

  • Tiny Terror amp head: The original Lunchbox amplifier, Value: $599.99
  • AmpliTube Orange for iPhone/iPod touch or AmpliTube Orange for iPad real-time mobile Orange Amps and Effects, Value: $14.99 each
  • AmpliTube Orange: The official Orange amp & cab collection for Mac/PC, Value: $99.99
  • iLoud: The first studio-quality portable speaker designed for musicians and audiophiles, Value: $299.99
  • iLoud Travel Bag: The gig bag for iLoud, Value: $39.99
  • iRig HD: High-quality digital guitar interface for iPhone, iPod touch, iPad and Mac, Value: $99.99
  • iRig BlueBoard: Bluetooth MIDI pedalboard for iPhone, iPod touch, iPad and Mac, Value: $99.99
  • iRig: Guitar & instrument interface adapter for iPhone, iPod touch and iPad, Value: $39.99
  • iLine: Mobile music cable kit, Value: $59.99
  • Book of Orange: A book about the history of Orange Amplification, Value: $49.99


Secondary Prize Package, over $800 in total value:

  • AmpliTube Orange for iPhone/iPod touch or iPad
  • AmpliTube Orange for Mac/PC
  • iLoud
  • iLoud Travel Bag
  • iRig HD
  • iRig BlueBoard
  • iRig
  • iLine
  • Book of Orange


The “Tiny Terror” is an amp for both the studio and the stage; the original “Lunchbox” amp with more than 30,000 units sold. All valve, 15-watt portable guitar head. Featuring a unique two stage preamp which has a massive tonal range using just three controls. When driven, this little amp has almost as much gain as most four stage lead channels! The Tiny Terror puts a lot of high-priced, boutique amps to shame with its clean crunch to full on overdrive sounds. At mid gain settings this valve head has masses of vintage British character; the Tiny Terror has been built to the same rugged specification as the bigger Orange amps and its portability makes it perfect for gigging around town or rehearsing. The Tiny Terror switches from 15 to 7 watts for studio use and recording.

For a chance to win, please visit the IK website entry page. Entries will be accepted no later than April 30, 2014, midnight EST. Winners will randomly be selected on May 2, 2014 and IK Multimedia will notify the winner via email.

www.ikmultimedia.com/orangegiveaway


For more information about AmpliTube Orange, please visit: www.ikmultimedia.com/orange

For more information about IK’s range of interfaces and accessories for iPhone, iPad, iPod touch and Mac/PC, please visitwww.ikmultimedia.com/interfaces

Spitfire Audio: Kitchenware Glass

By
Bryan
-

In cinema and sound design, having every edge is the key to getting all of the good contracts. Spitfire audio gives you the upper hand by adding all sorts of glass objects from around your kitchen to add some sonic spice to your tracks… get what I did there?

LONDON, UK: compositional tools creator Spitfire Audio is proud to announce availability of KITCHENWARE – GLASS — the ninth instalment of its reasonably priced Producer Portfolio series, launched last year to satisfy repeated requests for drier-sounding, more manipulatable samples for more non-orchestral music material — as of April 23…
As the latest Spitfire sample instrument collection for Native Instruments’ KONTAKT 4 or 5 (Mac OS X 10.7 or higher and Windows 7 or later), KITCHENWARE – GLASS faithfully follows in the tuneful ‘culinary’ footsteps of its popular Producer Portfolio sibling KITCHENWARE – METALS (sampled from several specially selected bowls, jugs, and cups); as implied by name, it’s an arresting anthology of tuned wine glasses alongside an array of domestic glass and ceramic kitchenware. Pressing into service an assortment of beaters and employing professional percussive performances to die for, all were meticulously recorded with a selection of high-quality microphones and perspectives at Spitfire Audio’s own writing/recording suites in King’s Cross, creatively crafting an out-of-this-world library of tuned percussion. A selection of stimulating sounds that hint at well-worn mallet instruments, yet successfully steer clear of clichés. Not quite glockenspiels. Not quite celestas. Not quite vibraphones. A deeply sampled magical musical world unto itself that’s bound to bring musical magic to any genre it meets.
KITCHENWARE – GLASS comprises 4.1GB of compressed data from over 10.7GB in WAV format and over 12,000 samples with up to three dynamic layers and five round-robins per instrument, including a variety of easily switchable beaters and performance techniques like finger nail flicks and slaps. Says Spitfire Audio co-founder Paul Thomson, “Many glasses were hurt in the creation of this library, I have to say! Quite a lot of broken glass in the studio.” Seemingly compositional tools creators can sometimes suffer for their art, too!
Arranged across three distinctive-sounding sections, this inspiring library features a set of chromatically-tuned glasses played by percussion supremo Paul Clarvis using a variety of techniques — from flicking to hitting, bowing to rubbing — to provide the basis of multiple choices for the user. Musical variety is the spice of life, after all! The second section focuses on a selection of 17 different domestic pieces of glassware and enamelware, played and struck in five different ways, while the third is effectively the same lineup as the second — albeit played with water within the glassware and enamelware to lend a more drifting, dreamlike quality to the productive proceedings.
Well, where on earth did this mouth-watering KITCHENWARE concept come from, then? Many moons ago, inspired by the experimental sounds of musical legends like Brian Eno, Kraftwerk, Steve Reich, and Tangerine Dream, as well as Cliff Martinez’s brooding score to Stephen Sodenbergh’s remake of sci-fi film classic Solaris, fellow Spitfire Audio co-founder Christian Henson co- developed a private sample library of tapped, struck, and flicked kitchenware from within the confines of his noisy flat in Soho. Said sample library became his go-to resource in times of musical trouble, often helping him overcome creative dry spells. Subsequently, it became much admired by his future Spitfire Audio colleagues — so much so that they decided to record a commercial version in a central London location since the ‘bucolic’ background overspill present in the original samples were deemed to be an acquired taste too far for more general consumption! Comfortably ensconced in their company’s new headquarters in King’s Cross — complete with ultra-quiet, dry, yet acoustically sound recording spaces, the rest, as they say, is history…
Priced to go, KITCHENWARE – GLASS is as beautifully packaged as it sounds and comes complete with the OSTINATUM, an inspirational rhythmic pattern-builder that’s neither quite an arpeggiator nor a full-blown sequencer — straight from the ALBION range of high-flying cinematic ensembles and composer’s tools, no less. Moreover, meticulous scripting with Spitfire Audio’s easy- to-use, out-of-the-box interface makes making magical music with KITCHENWARE – GLASS a breeze. Breakages are optional, of course. Just like fine wine, just add to taste!

 

KITCHENWARE – GLASS can be purchased and downloaded directly from Spitfire Audio for an introductory discounted price of £49.00 GBP rising to £66.00 GBP on April 24, 2014
(subject to VAT within the EU) from here: http://www.spitfireaudio.com/products-page (Note that this will require a full version of Native Instruments KONTAKT 4 or 5 to run.)
For more detailed info and an awe-inspiring audio demo visit the KITCHENWARE – GLASS webpage here: https://www.spitfireaudio.com/kitchenware-glass
Watch Spitfire Audio co-founder Paul Thomson’s telling KITCHENWARE – GLASS video walkthrough here: https://www.youtube.com/watch?feature=player_embedded&v=bLkIu14q-gk 

Antares Auto Tune EFX3

By
Bryan
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There’s no getting around it, Auto-tune is in our blood as a collective. It’s used both heavy handed as well as subtly and the EFX version is a quick way to correct some slight flaws and provide an icing on the track. Yes, it’s a sad state of affairs when every track has to be pitched to perfect scale but it’s not Antares fault. I actually use Auto Tune EFX quite a bit after I’ve used Melodyne on pop tracks to give it that perfect sound but you can take it much further with rhythm based triggering effects. Overall I use it more than Auto-Tune 7.

Antares Audio Technologies Introduces Auto-Tune EFX 3 – Real-Time Pitch Correction, Vocal Effect and Auto-Motion Pattern Generation

Automatic Pitch Correction Plug-in Features Ultra-Low Latency for Live Performance and Tracking, Along with New Features for Even More Natural Pitch Correction

(Scotts Valley, CA, April 22, 2014) — Antares Audio Technologies today announced the introduction of Auto-Tune EFX 3, the third generation of their easy-to-use tool for real-time pitch correction and creating the iconic Auto-Tune Vocal Effect. 

Powered by the same core technology as Antares’ professional standard Auto-Tune 7, Auto-Tune EFX 3’s new variable Retune Speed and Humanize controls provide an entirely new level of natural, realistic pitch correction. And with its unique Auto-Motion Vocal Pattern Generation, stunning new vocal effects are only a mouse click away.

Easy and Affordable

Designed to make almost everything automatic, Auto-Tune EFX 3 is the most affordable vocal production tool that provides Antares’ world-renowned real-time pitch correction. Users just set the key and scale of their track, adjust the Retune Speed for their desired effect, and Auto-Tune EFX 3 does the rest. For songs with complex chord progressions or modulations, they can optionally set up custom scales or use their host’s automation facility to allow the processing of virtually any vocal line.

New in Auto-Tune EFX 3 is a fully adjustable Retune Speed control that lets users fine tune the desired effect for their track, from subtle natural pitch correction to the full-blown Auto-Tune Vocal Effect.  

Also new is Antares unique Humanize function that ensures that short notes are effectively corrected while sustained notes are allowed to preserve their subtle pitch variations for the most natural, realistic pitch correction possible.

Auto-Tune EFX 3’s Auto-Motion Vocal Pattern Generation is a unique effect that adds intricate musical patterns to a vocal performance. Patterns are selected from a built-in (and expandable) library in a variety of styles and can be synced to the host’s tempo at various beat divisions. At any point in a vocal track, a user can simply click the Auto-Motion Trigger button to send their vocal on a melodic adventure. And since Auto-Tune EFX 3’s patterns are stored in standard MusicXML format, users can use any application that can open and edit MusicXML files to edit existing patterns and create entirely new patterns of their own. 

Auto-Tune EFX 3 is available now in AAX Native, VST3 and Audio Unit versions for Macintosh and AAX Native, VST3 and VST2 versions for PC. All versions are 64-bit compatible. 

More Auto-Tune EFX 3 information can be found at the Antares web site: http://www.antarestech.com/products/detail.php?product=Auto-Tune_EFX_3_65

Drumatom 1.5 Update

By
Bryan
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Drumatom is one of the first in-depth standalone tools that helps eliminate bleed from other elements in the kit. Although it is not a plugin, it seems to have its use as its own application. I would like this plugin a lot better if it were incorporated into another DAW, but not having to use a gate to separate out each drum would help when replacing out parts. Now it has more features and a swanky new update.

V1.5 out now! NEW in V1.5:
Additional Hi-Hat analyzing & processing made possible, A/B switching, custom naming abbreviations and more… It´s a major update & FREE for all existing Drumatom users. So be sure to grab it!
Drumatom is not a plugin! It is a stand-alone MAC & PC program and is the world´s first microphone leakage suppression tool for multichannel drum recordings! It is based on the patent pending Advanced Audio Analysis – A3 technology by ACCUSONUS from Greece.
With this novel software tool every sound engineer can now use compressors, EQs and creative effects in new ways with no limitations. In the hands of sound engineers, drumatom will make genuine drum recordings shine in the mix!
Separated, clean tracks. No more gates, triggers & samples required!
DRUMATOM gives you the freedom to mix drums like never before. Boost some highs on the snare channel without getting harsh hi-hat crosstalk. Put reverb on rim shots, mix hot and panned toms without phasy and harsh cymbals.
No drum samples and triggers required anymore to get punchy drums, but if for any reason you decide to exchange drum sounds (for example with the SPL DrumXchanger) you can do that easier with DRUMATOM as well. Since the drum tracks will be virtually free of crosstalk after you process them, triggers will react much more reliable afterwards.
World-class drum sounds made easy!

For more info, click HERE.

McDSP Supports Avid S3L

By
Bryan
-

The S3L is growing fast and McDSP, being one of the first plugin developers to support Pro Tools RTAS platform, so it would be no surprise that they were one of the first developers to support to S3L line.

Take the power of McDSP plug-ins from the studio to the stage, and back again, with the release of Avid S3L support for all McDSP HD v5 plug-ins. McDSP has qualified all its AAX DSP plug-ins to operate on the S3L systems, and even added a few improvements to better support the S3 control surface. McDSP plug-ins like the new AE400 Active Equalizer, and bundles like Live Pack and even Everything Pack, now include support for this new modular, networked live sound system from Avid.
McDSP HD v5 plug-ins include support for AAX DSP, AAX Native, TDM, RTAS, and Audio Unit (AU) plug-in formats. S3L compatible installers are available now at the McDSP web site downloads section.
McDSP support for the Avid S3L systems is available as a free update to v5 customers. Customers not already owning v5 McDSP plug-ins can purchase upgrades from the McDSP online store.

Please visit www.mcdsp.com for more information. 

T-Racks EQ73 and EQ81

By
Bryan
-

Can you guess what great pieces of gear T-Racks have emulated? You can easily guess it by the look, a staple of any major recording studio, a classic British company that rhymes with Neve… wait.. oh well the cat is out of the bag. IK Multimedia have already emulated the classic SSL consoles and now they’re adding to their empire with the EQ73 and EQ81. These models have been painstakingly recreated by the gurus over at IK and are available in the custom shop. So if you’re anything like me, you’re already clicking over there before the post is eve…………

IK Multimedia, a world leader in software and hardware products for professional musicians, engineers and producers announced today the newest release of the widely popular T-RackS Custom Shop mixing and mastering plug-in and standalone tools that features two new must-have British EQ models that provide the warmth and tone heard on countless recordings around the globe: the EQ73and the EQ81.
T-RackS Custom Shop is a Mac/PC audio plug-in and standalone mastering workstation that provides a revolutionary way for musicians, engineers and producers to purchase IK’s legendary T-RackS mixing and mastering audio processors right from their DAW or mastering station. T-RackS processors include a comprehensive collection of ultra-accurate models of some of the most famous analog audio processors used on virtually every recording in music history. T-RackS Custom Shop lets users purchase what they need via an à-la-carte purchasing system that is always available 24 hours a day, 7 days a week.
EQ73
The new T-RackS EQ73 model is based upon a classic British hardware unit that is universally acknowledged as the most used preamp in music recording history. The original “Class A” device has a sonic signature almost instantly recognizable to engineers and recording enthusiasts the world over. Thanks to its unique and innovative circuitry the signal passing through it becomes thick and bold making every instrument stand out with audible fullness. The T-RackS EQ73 model captures this nuance so that even in the DAW environment the tone stays intact.
The EQ 73 is an extraordinary EQ, and IK Multimedia engineers went the extra mile to make sure the part of the preamp circuitry functionality was captured as well — a feature no other emulation on the market has included. The interaction between the preamp and the EQ section is what makes this legendary EQ so desirable. The gain range is so wide that many color shades can be found. At lower settings it adds some harmonic coloration that will make kicks or snare fatter and punchier. Going up the gain hill moves it into downright distortion with an analog saturation rarely found in DAW plug-ins. This is a killer function that adds that elusive “analog” character to a sterile sounding track, or provides a new creative effect.
The EQ73 sounds great on virtually every audio source. Its combination of preamp circuitry and EQ interaction make it versatile enough to enhance any track, especially kicks, snares, overheads, bass, guitars and vocals.
EQ81
Following in the footsteps of its older sibling, the EQ81 takes the word versatility even further; the EQ section is composed of 4 independent frequency bands, rounded out by high and low pass filters to eliminate unwanted frequencies from the signal. This EQ powerhouse is at home in practically any mixing project where there is the need to sculpt the tone of a track with precision and musicality. Plus, adding to the versatility is the ability of the high and low shelving bands to become peaking type if needed.
Preamp and EQ Interaction: The Difference
As with the EQ73 model, IK Engineers made sure the preamp circuitry modeling was ultra-accurate and usable. Its Class A/B circuit design delivers another range of tonal coloration, and while the EQ section is so accurately modeled in the EQ81, its interaction with the preamp stage is what really sets the module apart providing identical sonic hardware performance not found in other digital models. Countless hours were spent not only in making sure the EQ curves are dead-on accurate, but that the preamp response and overall module interaction was faithful to the original hardware unit.
Both the EQ73 and the EQ81 models have the dual concentric knobs found on the original units “separated” for easier and faster shaping, and the unit offers improved readability of the knob positions for quick adjustment.
14-Day Demo
T-RackS Custom Shop allows users to demo any T-RackS processor for a full 14 days, allowing them time to completely evaluate the intricate workings, nuance and sonic characteristics of the unit. When ready to purchase, users simply click the “Custom Shop” button in the bottom right corner of the processor to launch the T-RackS Custom Shop purchase system and complete the process in just a few clicks. And T-RackS Custom Shop is always open at the moment of inspiration – 24 hours a day, 7 days a week.
The world’s most comprehensive collection, and then some
T-RackS massive collection of mixing and mastering audio processors is unmatched in both “true to the original” sonic perfection and in choice of selection. IK Multimedia has chosen the “best of the best” available hardware samples on which to base T-RackS modules. Other processors in T-RackS Custom Shop include models of professional compressors, limiters, console channel strips, clippers, reverbs, de-esser, multi-band processors and a tape echo. For the complete detailed list of available processors, please visit www.t-racks.com

 
Pricing & Availability
The T-RackS Model EQ73 and Model EQ81 are now available from the IK Multimedia web store or the T-RackS Custom Shop for an introductory price of $124.99/€99.99 (excluding taxes) or 125 Custom Shop Credits. All T-RackS processors are also available for separate purchase from the IK Multimedia web store.
T-RackS Custom Shop is a free application that can be downloaded after registration from IK Multimedia’s T-RackS web site, www.t-racks.com/customshop

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