Tuesday, 28 March 2017

RT-311 SWARM OSCILLATOR Radikal Technologies Eurorack-compatible module with a DSP-driven difference

Having turned heads, opened ears, and blown musical minds with a successful showcase at The 2017 NAMM Show, January 19-22 in Anaheim, California, high-quality synthesizer developer Radikal Technologies is proud to announce availability of its RT-311 SWARM OSCILLATORan advanced DSP-driven Eurorack-compatible oscillator module that, as implied by name, goes far beyond the realms of standard oscillator fare, firstly thanks to two oscillators that can both build swarms of (up to eight) oscillator ‘clones’ capable of being pitched in musical intervals, chords, clusters, or fat detunes, dutifully backed by having all parameter settings saveable as interpolatable snapshots, enabling even more radical results.
A dictionary definition of swarm typically reads: a large number of things… or oscillators, in the case of Radikal Technologies’ radical RT-311 SWARM OSCILLATOR, which, when switched to its highest SWARM setting, sees a maximum of 16 oscillator ‘clones’ running simultaneously. Something that stands out from the sound of the (ever-expanding Eurorack modular) crowd — to (partially) paraphrase the early-Eighties British breakthrough hit from synth-pop pioneers The Human League (themselves no strangers to the small-format modular system popularised by fellow German developers Doepfer Musikelektronik) — and surely something to behold? But building swarms of oscillator clones using both (OSCILLATOR 1 and OSCILLATOR 2) banks’ specialised set of TUNE, OCTAVES, DENSITY, SPREAD, and DETUNE controls to create pitched musical intervals, chords, clusters, or fat detunes does not necessarily mean that all 16 of those clones have to sound simultaneously.

Switched into (its default startup) Manual-Mode of operation, the RT-311 SWARM OSCILLATOR can function much like any other Eurorack-compatible all-analogue oscillator out there with OSCILLATOR 1 and OSCILLATOR 2 respectively appearing at the two (OUT 1 and OUT 2) outputs as sound sources for further manipulation elsewhere — using Radikal Technologies’ own RT-451 DUAL MULTIMODE FILTER module, for instance. In this scenario, the sound of the RT-311 SWARM OSCILLATOR module matches exactly what would be expected from the potentiometer-controlled parameter positions on its 32 HP (Horizontal Pitch) sized front panel; putting yet more controls at adventurous users’ fingertips, both banks of oscillators feature WAVE controls for smooth transitions between waveforms and TLM (Timelinearity Modulation), a variation of pulse-width modulation — known from Radikal Technologies’ SPECTRALIS 2 ANALOG SYNTHESIZER/BEATMATRIX/FILTERBANK desktop hybrid — that can be applied to all waveforms, while exponential FM (Frequency Modulation) and linear FM modulation or PM (Phase Modulation) are also available alongside oscillator synchronisation. Pitch is, of course, controlled by the (calibrated) 1V/OCT input (which can be quantised so that only pitches of a certain tone sequence or scale are output).
 

demonstration video of the RT-311 SWARM OSCILLATOR

Other operational modes make more radical results really shine through, though. Switching Snapshot-Mode into play permits the RT-311 SWARM OSCILLATOR to store up to eight memory setups, each with eight snapshots, saving all oscillator settings and memorising them even after whatever Eurorack small-format modular synth system is playing host to the module has been powered down! Such snapshots are assigned to one of eight positions accessible via the ‘big knob’ dominating the RT-311 SWARM OSCILLATOR’s front panel. Put it into Interpolator-Mode and everything (literally) revolves around the cyclic traversal of those snapshots, smoothly crossfading from one to the next with transitions taken care of via voltage control, an internal LFO (Low Frequency Oscillator), or the big knob itself — either way, the surrounding eight LEDs (Light Emitting Diodes) illuminate accordingly in user-chosen colours, helpfully highlighting which snapshot is playing at any given time.

To make room for an RT-311 SWARM OSCILLATOR in any Eurorack small-format modular system means making more sound colours available to the sophisticated synthesist… Radikal by name, radical by nature, now a swarm of oscillators need not take up too much valuable rack space, so why not add one (or more) modules to your setup today to start putting Radikal Technologies’ latest DSP-driven design through its unique-sounding paces?

Now shipping, the RT-311 SWARM OSCILLATOR is available for purchase from Radikal Technologies stockists at an MSRP of €598.00 EUR (in Europe) and $659.00 USD (in the US).

For more in-depth information, please visit the dedicated RT-311 SWARM OSCILLATOR webpage here: http://www.radikaltechnologies.com/index.php/rt-311-swarm-oscillator/


About Radikal Technologies (www.radikaltechnologies.com)
Radikal Technologies was founded in 1995 as a pro audio equipment distribution company by present-day President Jurgen Korduletsch. Within a few years the company moved into developing its own product designs, starting with the SAC-2K (SAC-2.2) Software Assigned Controller, an award-winning DAW (Digital Audio Workstation) control surface, supporting popular environments like Digital Performer, Logic, Pyramix, and Nuendo. Next up, a move into electronic musical instruments introduced the trailblazing SPECTRALIS ANALOG SYNTHESIZER/BEATMATRIX/FILTERBANK desktop hybrid in 2004, while more recent DSP (Digital Signal Processing) developments — combined with Product Designer Jörg Schaaf’s relentless pursuit of perfectionism in the realm of cutting-edge sound synthesis algorithms — resulted in the aptly-named ACCELERATOR polyphonic synthesizer keyboard marvel. More recently, Radikal Technologies has been making its musical mark upon the ever-expanding Eurorack modular marketplace with worthy modules drawing upon its illustrious past while looking to the future.

Thursday, 23 March 2017

KORON - TRADITIONAL INSTRUMENTS OF IRAN, an authentic collection of 10 Iranian instruments by Impact Soundworks

Impact Soundworks announces authentic-sounding sampled collection of 10 traditional Iranian instruments

Audio software creator Impact Soundworks is proud to announce availability of KORON - TRADITIONAL INSTRUMENTS OF IRAN — an authentic collection of 10 traditional Iranian instruments perfect for realising realistic Middle Eastern music, cinematic scores, world fusion, and more as one of the deepest world instrument sample libraries ever released for Native Instruments’ industry-standard KONTAKT platform.

Koron is a traditional Iranian term that refers to notes that are a quarter-step lower in pitch. Put it this way: such quarter tone intervals are a distinguishing feature of Iranian and other traditional Middle Eastern music, and, as such, Impact Soundworks sensitively pays tribute to that concept — both in name and content — with KORON - TRADITIONAL INSTRUMENTS OF IRAN. Indeed, it is designed to capture the very essence of Iran’s rich tapestry of musical forms and history, while also breaking down barriers between Eastern and Western music.

Musically speaking, KORON - TRADITIONAL INSTRUMENTS OF IRAN in effect started life at the instigation of one Siavash Mozaffari, an Oakland, CA-based multi-instrumentalist, recording artist, engineer, and sound enthusiast, who successfully used crowdfunding to raise  funds for a ‘sonic journey’ to Iran with the goal of sharing the sounds of that country’s traditional instruments by transforming them into virtual tools to be used by any composer. Connecting with the instigator, Impact Soundworks expanded the scope and depth of this project, producing one of the deepest world instrument libraries ever released as a collaborative result over two years later. 

The finished result almost beggars belief. With over 17,000 superlative samples presented in 24-bit fidelity to its notable name, KORON - TRADITIONAL INSTRUMENTS OF IRAN includes five melodic instruments — including kamanche (believed to be one of the historical ancestors of the European violin family), santoor (type of hammered dulcimer), setar (three-stringed instrument with a long neck and moveable frets), tanbour (considered by some to be the first long-necked fretted instrument), and tar (amongst the most significant Iranian classical instruments, similar in importance to the guitar in Western music) — and five percussive instruments — including bendir (wooden frame drum with a skin membrane), daf (larger Persian frame drum made of hardwood with metal strings attached), kuzeh (hollow clay instrument indigenous to Iran with holes that can be opened or closed by hand to create unique sound effects), tombak (goblet-shaped hand drum that is a foundational instrument to Persian music), and zarbe zoorkhaneh (clay and sheepskin or goatskin hand drum originally used in BC-era fitness workouts for knights).
Watch Impact Soundworks Lead Developer Andrew Aversa’s
KORON - TRADITIONAL SOUNDS OF IRAN video walkthrough
With KORON - TRADITIONAL INSTRUMENTS OF IRAN, Impact Soundworks proudly presents both deep multi-samples — including multiple dynamics, round robins, and legato transitions — alongside extensive percussive hits and techniques, plus over 1,200 performances and phrases. Pool of staggering samples notwithstanding, Impact Soundworks also designed KONTAKT patches using its latest scripting techniques, such as TACT (Total Articulation Control Technology) for custom mapping and phrase editing directly within KONTAKT. In close collaboration with Siavash Mozaffari, information and images pertaining to every instrument recorded reside within KORON - TRADITIONAL INSTRUMENTS OF IRAN itself, so inquisitive users can learn more about their construction, history, and playing style.

Stylistically, KORON - TRADITIONAL INSTRUMENTS OF IRAN of course can creatively go beyond time and place, partly thanks to the onboard effects rack featuring (an analogue-modelled parametric) EQ, COMPRESSOR, DELAY (line), and (convolution) REVERB. Realistically, though, given that one of the core goals at Impact Soundworks is to sample and develop virtual instruments outside the standard Western repertoire, KORON - TRADITIONAL INSTRUMENTS OF IRAN is the most extensive fulfilment of that goal yet and also a fitting conclusion to Siavash Mozaffari’s Iranian ‘sonic journey’ having helped him expand the scope and deliver the project to its full potential.
 

KORON - TRADITIONAL SOUNDS OF IRAN can be purchased and digitally downloaded (as a 11 GB library totalling 17,000-plus 24-bit samples) directly from Impact Soundworks for a time-limited introductory promo price of $179.00 USD until March 31, 2017 — rising to an MSRP of $199.00 USD thereafter — from here: https://impactsoundworks.com/product/koron-traditional-instruments-of-iran#purchase

Note that KORON - TRADITIONAL SOUNDS OF IRAN requires the full version of Native Instruments KONTAKT (5.5.2 or higher).
For more in-depth information, please visit the dedicated KORON - TRADITIONAL SOUNDS OF IRAN webpage here: https://impactsoundworks.com/product/koron-traditional-instruments-of-iran



About Impact Soundworks (www.impactsoundworks.com)
Impact Soundworks creates audio software designed with composers in mind: sample libraries, virtual instruments, and plug-ins. As passionate about creating music tools as its customers are about making music, the company was founded in 2008 by composers Andrew Aversa and Will Roget, II at a time when there were several large virtual instrument companies already around, but few developers creating affordable, flexible, and focused libraries featuring more unusual and unique sounds. Shrewdly, the dynamic duo noticed much in the way of in-depth orchestral offerings, but more unusual instruments were not being sampled with much detail at all. As such, the company’s first two releases were Impact Steel, a collection of found metal objects played as percussion, and Sitar Nation, a set of instruments from North India. It has since been collectively working hard to address the needs of modern composers, successfully striking the balance between depth and ease of use. Ultimately, Impact Soundworks is proud to call tens of thousands of musicians around the world its customers, intelligently investing time to study suggestions and review requests. After all, that is how a number of its best-loved libraries started… from the smallest seed!

Wednesday, 22 March 2017

Antelope Audio announces full session saving functionality for its innovative pro audio interfaces

Antelope Audio announces full session saving functionality for its innovative pro audio interfaces



High-end professional audio equipment manufacturer Antelope Audio is proud to announce availability of complimentary Control Panel desktop software updates for its innovative Zen Studio+, Orion32 HD, Orion Studio, Goliath, Zen Tour, and Orion 32+ pro audio interfaces — including an all-new Session Presets application for full session saving functionality, allowing anyone already taking full advantage of their incredibly versatile routing, mixing, and hardware effects processing capabilities to save, load, and share any routing, mixing, effects, mic pre gain levels, input and output trims, and even pan or resize settings.
Antelope Audio already transformed the whole concept of audio interface operation with its innovative Control Panel desktop software. Historically, this allowed access to some routing capabilities, a mixer maybe, and a few effects. However, with drag-and-drop ease of use, an ability to send audio to multiple outputs, realtime mixers featuring AuraVerb — Antelope Audio’s hardware-based reverb leveraging its 64-bit FPGA (Field Programmable Gate Array) chip, control and recall of realtime effects, panel splitting, and updates of features and effects, the contemporary Control Panel experience is now second to none.

Needless to say, the talented Antelope Audio software team is constantly coming up with fanciful features — often based on feedback from customers increasingly integrating Control Panel’s powerful signal routing and processing power into their workflow, resulting in unprecedented versatility without resorting to complex analogue patching in their studio setups.

Says Antelope Audio CEO Igor Levin: “With powerful routing capabilities and our advanced FPGA effects modelling, our interfaces are much more than digital convertors. While our FPGA models could replace a towering rack of outboard gear, our signal routing and submixing capabilities could just as easily replace an analogue mixing console in the studio. Now, with Session Presets, our users can create and share multiple routing and effects settings to have their studio ‘patched’ and ready for a session of any size at a moment’s notice, saving time and improving consistency.”
 
Watch Antelope Audio’s informative introductory video introducing
full session-saving functionality for its innovative pro audio interfaces
Thanks to Session Presets, clearly Control Panel has become more like a control panel workstation. With workflow enhancements extending the radical reach of Antelope Audio’s innovative interfaces, it was imperative that the company came up with an awe-inspiring tool to manage all of those flexible features for its end users. Ultimately, Session Presets performs in first-rate fashion.

Fortunately for owners of Antelope Audio’s award-winning Zen Studio+, Orion32 HD, Orion Studio, Goliath, Zen Tour, and Orion 32+ pro audio interfaces, a complimentary Control Panel desktop software update for their particular product is instantly available as an automatic update by simply starting the Control Panel launcher. Once installed, Session Presets operation is intuitive.

In the upper-right section of the various interface control panels is a SESSION name. Change anything in the panel and an asterisk appears next to the name to denote that a change has been made. Saving at any point will update all such panel changes. To the right of the SESSION name are SAVE and LOAD buttons. Pressing SAVE opens a Save Sessions options dialogue window. Expanding this window reveals all saveable components for that specific audio interface. Ticking the top Component box deselects all components in the menu — convenient for those users wishing to only save a specific subset of settings. So ticking the AFX Special Effects box means that only the AFX will be saved in Antelope Audio’s custom .as file format and only those AFX components will be available when later loading this file — handy for sending another Antelope Audio user custom AFX banks, for example. As such, Session Presets is an ideal tool for multi-room studio complexes or engineers working remotely in commercial studios since all compatible Antelope Audio interfaces can easily load common components settings. So a Zen Tour can open files created on an Orion32 HD or a Goliath, but will only load the components that those interfaces share.

To load a session preset, simply click the LOAD button, then select either Load Last Session in the upper right of the dialogue window or Browse to navigate to the desired .as file. Once selected, all the components saved in this file are visible and users can then opt to load or import only those component settings that are required. Choose to load just Routing, monitor Mixers, or only AFX — all without changing the other current settings. This makes adjusting sessions a breeze, because users may only wish to load the same effects that they tracked a project with — without touching any of the settings being used during mixdown.

More reasons to be cheerful: Session Presets… a convenient interface innovation, brought by Antelope Audio to owners of its Zen Studio+, Orion32 HD, Orion Studio, Goliath, Zen Tour, and Orion 32+ pro audio interfaces — for free!

For more in-depth information about Antelope Audio’s full session-saving functionality for its innovative pro audio interfaces, please visit the dedicated webpage here: http://antelopeaudio.com/2017/03/full-session-saving-for-the-latest-antelope-audio-devices/

For more information about Antelope Audio’s Zen Studio+, Orion32 HD, Orion Studio, Goliath,Zen Tour, and Orion 32+ pro audio interfaces, please visit the dedicated webpage here: http://en.antelopeaudio.com/pro-audio-devices/thunderbolt-usb-audio-interface/

About Antelope Audio (www.antelopeaudio.com)
Antelope Audio is a leading manufacturer of high-end professional audio equipment, pioneering the adoption of atomic clock generators in audio master clocks through utilising CEO Igor Levin’s 25-plus years of experience in digital audio. Antelope was the first company to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. The company’s customers include many GRAMMY® award-winning sound engineers and some of the most renowned recording, mastering, and post-production facilities around the globe.

Tuesday, 21 March 2017

Impact Soundworks VENTUS ETHNIC WINDS - BANSURI - Kontakt instrument

Impact Soundworks scales up VENTUS ETHNIC WINDS series with world’s most deeply sampled bansuri

Audio software creator Impact Soundworks is proud to announce availability of VENTUS ETHNIC WINDS - BANSURI — the third entry into its VENTUS ETHNIC WINDS series of solo ethnic woodwinds instruments, this time giving a divine instrument that plays an essential role in North Indian and Hindustani classical music a virtual instrument makeover as the world’s most deeply sampled bansuri for Native Instruments’ industry-standard KONTAKT platform.
As an ancient traverse (side-blown) flute indigenous to India — known alternatively as the nadi or tuvana, the bansuri plays a marked musical role in North Indian and Hindustani classical circles, carrying with it an appropriate religious significance as a divine instrument. Indeed, its importance in traditional Indian music made it a consummate candidate for joining Impact Soundworks’ swelling VENTUS ETHNIC WINDS series. Saying that, the company collectively cares for its haunting, low tone — hardly surprising since its founders are composers in their own right, so set about creating VENTUS ETHNIC WINDS - BANSURI. Indeed, it is a perfect partner for Impact Soundworks’ SITAR NATION, the most deeply sampled sitar, tambura, tabla, and baya library ever released!

Returning to the wonderful VENTUS ETHNIC WINDS world, this series is designed to take adventurous users on a global journey, capturing the tones of pleasingly performed solo instruments outside of the Western repertoire. Running alongside that goal is an admirable intention to allow anyone to create authentic performances without the technology involved getting in the way.


Watch Impact Soundworks’ VENTUS ETHNIC WINDS - BANSURI guest video:
With that thought in mind, the VENTUS ETHNIC WINDS - BANSURI library is based around performances by New York-based composer, arranger, and multi-woodwind instrumentalist Josh Plotner, perfectly capturing the breathtaking expressiveness of this instrument so that it shines through the many magical musical ornaments and articulations used. Ultimately, as with its previous VENTUS ETHNIC WINDS virtual instruments, Impact Soundworks strived to capture as many of these techniques as possible — portamento, true legato, three different release ornaments, staccato, bends, and vibrato are all present and accounted for within the unified (VENTUS ETHNIC WINDS) user interface that’s as easy on the eye as it is to use. No fewer than 14 distinct playing techniques and ornaments were captured with multiple dynamics and round robin variations at 24-bit sample depth using a close ribbon mic and a pair of room mics. Meanwhile, almost 350 unique phrases in multiple lengths and styles are available as a result to inspire any adventurous composer. These can be used within KONTAKT itself or loaded as .WAV files in a DAW for further editing, slicing, and arrangement.

Clearly, composers are in for a treat. The VENTUS ETHNIC WINDS series — including, of course, VENTUS ETHNIC WINDS - BANSURI — brings a new way of triggering unique, authentic performances without manually sequencing keyswitches and CC data to the virtual instrument table. These so-called ornaments can be played back at random, ignoring normal articulation mapping. When the onscreen ORNAMENTS knob is set above MIN (0%), ornaments will begin randomly playing back each time a sustain note is triggered (or released) and by clicking the Record button this ornament playback will be recorded into memory. More meaningfully, if this knob is set to 25, for instance, then there is a 25% chance that an ornament will be played on attack or release.

Like many Impact Soundworks releases before it, VENTUS ETHNIC WINDS - BANSURI includes TACT (Total Articulation Control Technology) to create a consistent plug-and-play performance experience via a modular, scalable system. It manages articulations with up to three triggering types, volume and offset control, and independently controlled legato toggles. The best performance setups for users can quickly be created allowing users to get on with being musically creative.

Controls for tweaking and editing controls are available in abundance, then. VENTUS ETHNIC WINDS - BANSURI even comes complete with a bonus tambura and sitar drones patch taken from Impact Soundworks’ SITAR NATION library to help its users create magnificent multi-instrumental textures that can be made to sound out of this world, thanks to the onboard effects rack featuring (an analogue-modelled parametric) EQ, COMPRESSOR, DELAY (line), and (convolution) REVERB. Wherever a composer chooses to take it, rest assured that VENTUS ETHNIC WINDS - BANSURI sounds simply divine with inspiration made musically simple!

VENTUS ETHNIC WINDS - BANSURI can be purchased and digitally downloaded (as a 6.6 GB library totalling 4,500-plus 24-bit samples) directly from Impact Soundworks for $99.00 USD from here: https://impactsoundworks.com/product/ventus-ethnic-winds-bansuri/#purchase

Note that VENTUS ETHNIC WINDS - BANSURI requires the full version of Native Instruments KONTAKT (5.5.2 or higher).

For more in-depth information, please visit the dedicated VENTUS ETHNIC WINDS - BANSURI webpage here: https://impactsoundworks.com/product/ventus-ethnic-winds-bansuri/

About Impact Soundworks (www.impactsoundworks.com)

Impact Soundworks creates audio software designed with composers in mind: sample libraries, virtual instruments, and plug-ins. As passionate about creating music tools as its customers are about making music, the company was founded in 2008 by composers Andrew Aversa and Will Roget, II at a time when there were several large virtual instrument companies already around, but few developers creating affordable, flexible, and focused libraries featuring more unusual and unique sounds. Shrewdly, the dynamic duo noticed much in the way of in-depth orchestral offerings, but more unusual instruments were not being sampled with much detail at all. As such, the company’s first two releases were Impact Steel, a collection of found metal objects played as percussion, and Sitar Nation, a set of instruments from North India. It has since been collectively working hard to address the needs of modern composers, successfully striking the balance between depth and ease of use. Ultimately, Impact Soundworks is proud to call tens of thousands of musicians around the world its customers, intelligently investing time to study suggestions and review requests. After all, that is how a number of its best-loved libraries started… from the smallest seed!

Thursday, 16 March 2017

A good bunch of new freebies for your incoming weekend :-)

Here's a quick list of freebies collected from the past weeks for you guys.
Grab 'em and have fun.
 * * *

2S EQ is a parametric EQ featuring a straightforward user interface. We believe everyone can use it without learning. And it is free. (Mac and Windows)

(scroll down their page to find it)  
https://2ndsenseaudio.com/plugins/

 * * * 
SL84 Console EQ
BRITSH 80 Series style eq (windows 32 bit)
https://smacklabs.wordpress.com/

SL63X
 
 Simple compressor/limiter (windows 32 bit)
https://smacklabs.wordpress.com/

LOGIC CHANNEL
 "NINE THOUSAND" Channel strip with Compressor, Gate, Filters, and EQ
(windows 32 bit)

https://smacklabs.wordpress.com/

  * * * 
EU PROMIX EQ-10
 EU ProMixEQ-10A is designed to produce precise musically sounding tones with minimum coloration, artifacts and harshness of sound, ideal as main mixing equalizer for individual instruments / tracks. Equalizer uses latest available technologies (DSP codes) of EQ/Filter virtual circuits to provide clean, high resolution sound.

* * * 

FREEFORM instrument for Kontakt

FreeForm, a free rompler instrument for Native Instruments Kontakt featuring version 2 of Channel Robot’s Formula engine. You need to create a free account to be able to see and download it. Details over here:

 * * * 
OSL CHORUS
OSL Chorus is modelled after the Juno 60’s onboard chorus. It produces rich, wide choruses that are perfect for bringing dry synthesizers to life, but it sounds equally good on guitar, bass, and other instruments. Windows and Mac compatible.


 * * * 

CRYSTAL GOBLETS & EUGENE for Ableton Live and Kontakt
Flintpope has released Crystal Goblets & Eugene, a free instrument pack for Ableton Live and Native Instruments Kontakt, in collaboration with Animus Invidious of PerforModule.
For a detailed description and download please visit

* * *

Ok guys that's enough by now to keep you again busy for the weekend ;-) and for free!
Talk soon with some software reviews.
Take care.
DCSI

Tuesday, 14 March 2017

Plugin Alliance SPL Microplugs with new and improved Plus versions

Plugin Alliance advances several SPL Microplugs with new and improved Plus versions

Plugin Alliance, a new ‘Über-standard’ supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of SPL’s Attacker Plus, De-Verb Plus, and Mo-Verb Plus — new and improved versions of three must-have Microplugs created by founding Plugin Alliance development partner Brainworx in close collaboration with SPL, respected worldwide for its innovative and user-friendly approach to developing and manufacturing analog and digital audio gear for the music, film, multimedia, and broadcasting industries since 1984.
The Attacker Plus Microplug presents part of the same stunning envelope shaping supplied by SPL’s treasured Transient Designer hardware, hitting a home run with software aficionados by replicating the edge and punch provided by the original unit’s ATTACK knob. Indeed, it uses the same so-called Differential Envelope Technology that revolutionized dynamic processing with its level-independent methodology. More meaningfully, though its ATTACK knob lets users dial in all the transient punch needed, Attacker Plus also sports soft peak limiting (LIMIT) access and a DRY/WET control, affording total flexibility across a wide range of material with worry-free workflow in the digital world. With over a decade of hardware modelling experience, Brainworx bestowed a core algorithm upon Attacker Plus that more closely matches the behavior of the original Transient Designer hardware than ever before. Better still, working with Attacker Plus could not be simpler — all attack events can be amplified regardless of signal level, yet such simplicity does not prevent seemingly endless possibilities for studio and live applications. Attacker Plus amplifies just the attack curves of a sound event by focusing on the initial transient instead of specific frequencies to allow instruments to be mixed at lower levels, which, in turn, opens up space in the mix while preserving the relationship between tracks, for example; emphasize the attack of a kick drum or loop to increase power and presence in the mix; adjust apparent ‘distance’ of a microphone by varying the ATTACK values; increase the attack of guitar sounds for in-your-face tone-shaping — anything and everything is possible (within reason)!
Thanks to that same Differential Envelope Technology, the De-Verb Plus Microplug also serves up part of the same stunning envelope shaping supplied by SPL’s treasured Transient Designer hardware in software. It reproduces the attenuation provided by the original SUSTAIN knob — albeit now helpfully labelled as REVERB REDUCTION on the Microplug itself — to reduce or even eliminate the decay of a sound. Similarly sporting soft peak limiting (LIMIT) access and a DRY/WET control, it also allows total flexibility across a wide range of material with worry-free workflow in the digital world. Working with De-Verb Plus is, likewise, disarmingly simple — reverb events can be reduced, regardless of signal level, translating to endless possibilities for studio and live applications! Any sound event’s decay curve can simply be reduced by turning that REVERB REDUCTION knob. De-Verb Plus also offers an OUTPUT GAIN control that allows compensation for level changes after processing the signal — just like Attacker Plus. Combined with the peak limiter (LIMIT) and DRY/WET controls, this ensures simple and safe adjustment of levels while avoiding internal clipping and shaping the decay characteristics of material. Musically shorten the sustain period of a snare; reduce tom-tom ring without resorting to physically dampening; adjust apparent ‘distance’ of a microphone by varying the REVERB REDUCTION values... De-Verb Plus perfectly encapsulates an alternative to noise gates — compared to fixed release times, the decay period is more musically shortened, so significantly freeing a drum kit from unwanted room information within seconds!

Similarly, the Mo-Verb Plus Microplug perfectly zeros in on another aspect of the Transient Designer’s distinctive envelope shaping, this time replicating the boost provided by the hardware’s SUSTAIN knob that extends the decay of sounds as a self-explanatory REVERB ENHANCEMENT control, allowing all reverb events to be amplified — again, regardless of signal level. Translating to endless possibilities for studio and live applications, decay curves of any sound event can be emphasized by simply turning the knob in question! Mo-Verb Plus also offers an OUTPUT GAIN control that allows compensation for level changes after processing the signal, which — when combined with the peak limiter (LIMIT) and DRY/WET controls — secures simple and safe adjustment of levels while avoiding internal clipping when shaping the decay characteristics of material. Many effects — such as drawing out the sustain period of a snare to get the tone and grit upfront in the mix or letting every note of a guitar riff ‘sing’ to its heart’s content — would take considerable programming skill when using a typical compressor, but Mo-Verb Plus handles everything easily with only one knob... just like its new and improved Attacker Plus and De-Verb Plus siblings!

The new and improved Attacker Plus, De-Verb Plus, and Mo-Verb Plus Microplugs
can be seen and heard in this trailer video 

 Attacker Plus ($99.00 USD), De-Verb Plus ($79.00 USD), and Mo-Verb Plus ($79.00 USD) are available for purchase — as a AAX DSP-, AAX Native-, AU-, VST2-, and VST3-supporting Microplugs for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — from Plugin Alliance and select VSSD (Virtual Stock Software Distribution) retailers.
(Note that individual Microplug promotional pricing of $29.00 USD is available to owners of legacy Attacker, De-Verb, and Mo-Verb.)
For more in-depth info, including several superb-sounding audio demos, please visit the Microplugs’ respective dedicated webpages here:
https://www.plugin-alliance.com/en/products/spl_attacker_plus.html
https://www.plugin-alliance.com/en/products/spl_de-verb_plus.html
https://www.plugin-alliance.com/en/products/spl_mo-verb_plus.html
 
 About Plugin Alliance (www.plugin-alliance.com)
Based in Wilmington, DE, USA, with offices in Santa Cruz, CA, USA, Plugin Alliance is more than just a website; it is a new ‘Über- standard’, supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof. It empowers world-renowned analogue hardware companies with a digital strategy and provides software developers with services that allow them to develop products with increasing quality and quantity. It does this by providing world-class marketing and distribution, as well as platform features like a state-of-the-art authorisation system.The Alliance is more than just a group of partner companies; it is a rapidly growing community of artists, engineers, producers, and industry luminaries who have joined to share what they have learned.

Friday, 10 March 2017

Antelope Audio Orion32 HD HDX & USB 3.0 interface

Antelope Audio announces availability of Orion32 HD HDX & USB 3.0 interface innovator
Having blown musical minds when debuted at The 2017 NAMM Show, January 19-22 in Anaheim, California, high-end professional audio equipment manufacturer Antelope Audio is proud to announce that it is now shipping the Orion32 HD — its newest addition to the outstanding Orion32 family, featuring full Pro Tools | HD and Native DAW (Digital Audio Workstation) compatibility and simultaneous streaming of 64 I/O channels of pristine 24-bit/192kHz audio via HDX and USB 3.0 connectivity with realtime (zero-latency) monitoring.
Powered by Antelope Audio’s best-in-class 64-bit AFC (Acoustically Focused Clocking) jitter-free management technology to deliver accurate and clear conversion with depth and detail in stereo imaging and transient accuracy that ensures the most precise audio capture and playback, Orion32 HD supports any DAW on the market. Moreover, its HDX and USB 3.0 ports are available simultaneously, so more than one DAW platform can be used and accessed at any given time. That apart, with an abundance of digital connectivity via HDX, USB 3.0, MADI, ADAT, and S/PDIF alongside analogue I/O (32-in/32-out) on standard 25-pin D-SUB connectors, Orion32 HD has all the right connections needed to configure it for a wide range of applications as the perfect fit for studios of all shapes and sizes. 

Sporting software control par excellence, Orion32 HD’s Mac OS X- and Windows-compatible routing and mixing console desktop app is as versatile as it is intuitive, boasting both Antelope Audio’s classic, colour-coded routing matrix and an alternative view to make routing even easier with movable and resizable panels to help make best use of desktop ‘screen estate’ in multiscreen setups or when working on scoring or other applications with the need to speedily jump between applications and windows.

What’s more, Orion32 HD benefits from Antelope Audio’s revolutionary approach to audio processing with its comprehensive suite of hardware-based FPGA (Field Programmable Gate Array) effects providing hardware models of some of the most desirable vintage effects around with realtime performance. Put it this way — with the company’s constantly growing library of free FPGA effects embracing EQs, compressors, and guitar amp models based on analogue gear gracing countless hit records, Orion32 HD is geared up to make some hits of its own as Antelope Audio’s fast FPGA processing pushes those effects into sounding and behaving just like the hardware classics upon which they are based, also allowing users to set up multiple monitor mixes in realtime right within Orion32 HD’s mixer! 

Antelope Audio’s informative introductory Orion32 HD video
Meanwhile, with two WC (Word Clock) or Loopsync outputs, Orion32 HD can comfortably serve as the centrepiece of any recording setup or take anyone’s sound still further forward by using its 10M/10MX clock inputs to connect to Antelope Audio’s acclaimed 10M Rubidium Atomic Clock or 10MX Rubidium Atomic Clock for the best clocking in the industry with unparalleled sonic perfection. Speaking of perfection, Orion32 HD has a mastering-grade monitor output borrowed from Antelope Audio’s Pure2 2 Channel AD/DA Convertor & Master Clock to ensure signal integrity in the analogue domain. Orion32 HD also makes for a perfect pairing with Antelope Audio’s MP32 32 Channel Pure Class A Mic Pre and Satori Mastering Grade Monitor Controller

The Orion32 HD itself is an efficient ‘green’ design with no need for an internal fan, freeing studio setups from noise pollution without resorting to expensive isolation racks or standalone machine rooms. Housed in a svelte black case taking up a single rack space, it delivers 64 channels of I/O to space-conscious home or project studios and gear-saturated professional setups alike — albeit with a full feature set unlike any other similarly-sized audio interface in its class. Clearly, then, the innovative Orion32 HD is a class act. Adding one to any setup surely sounds like sonic perfection personified. 

Now shipping, Orion32 HD is available for purchase through Antelope Audio’s growing global network of dealers at an RRP of 3,495.00 EUR/$3,495.00 USD or directly from here: http://antelopeaudio.com/products/orion32-hd/
For more in-depth information, please visit the dedicated Orion32 HD webpage here: http://antelopeaudio.com/products/orion32-hd/
For more information about Antelope Audio’s FPGA effects, including a full library list, please visit the dedicated webpage here: http://antelopeaudio.com/hardware-based-fpga-effects/ 

About Antelope Audio (www.antelopeaudio.com

Antelope Audio is a leading manufacturer of high-end professional audio equipment, pioneering the adoption of atomic clock generators in audio master clocks through utilising CEO Igor Levin’s 25-plus years of experience in digital audio. Antelope was the first company to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres.The company’s customers include many GRAMMY® award-winning sound engineers and some of the most renowned recording, mastering, and post-production facilities around the globe. 

Saturday, 4 March 2017

100% AAX DSP Bundle V1.4 with 50 premier plugins by Plugin Alliance

Plugin Alliance announces availability of 100% AAX DSP Bundle V1.4 with 50 premier plugins!

Plugin Alliance, a new ‘Über-standard’ supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of 100% AAX DSP Bundle V1.4 — offering 50 premier plugins, including its new HG-2 (emulating four different vacuum tube stages combined in series and parallel circuits to colour mixes and individual tracks with a wide range of rich and varied harmonics) and just-released bx_subsynth (built around the heart of the legendary dbx 120XP Subharmonic Synthesizer to add sub, punch, and saturation to sounds), making it the largest collection of AAX DSP production tools on the market.
The AAX (Avid Audio eXtension) DSP unified plugin format is compatible with DSP-accelerated Pro Tools|HDX systems, so users of any such systems seeking to add some serious AAX DSP plugin firepower to their setup need look no further than 100% AAX DSP Bundle V1.4. Offering 50 premier plugins from 10 world-class pro audio companies (including Brainworx, elysia, SPL, Millennia, Vertigo, and many more besides), it is the largest collection of AAX DSP production tools on the market, making it the most complete collection of AAX DSP plugins for anyone’s Pro Tools|HDX system! Saying that, those bundled plugins also support AAX Native, Apple’s AU (AudioUnit), and Steinberg’s VST (Virtual Studio Technology) standard plugin formats at no additional charge, so those Pro Tools|HDX system users handily have licenses for other systems that they may also use — for composing in other environments, such as Apple’s Logic Pro or Ableton’s Live, for instance.
It’s what’s within the latest incarnation of this mind-blowing bundle that matters most, though. With 100% AAX DSP Bundle V1.4, Plugin Alliance has taken the opportunity to introduce its latest development partner with the most spectacular plugin possible by including an authentic emulation of Black Box Analog Design’s HG-2 hardware, a line level stereo processor designed to add saturation, harmonics, natural compression, increased RMS (Root Mean Square) - used to characterise the ‘average’ of continuous varying signals and enhancement during mixing and mastering.

More to the point, it is designed to easily do what usually requires multiple hardware units and do it better! Heralded by celebrated mix engineers like Jack Douglas, Bob Horn, and Dave Pensado, this boutique processor’s multiple, diverse tube circuits not only make tracks sound fuller and richer, but they also make them sound bigger, louder, and altogether punchier at the same peak level. Much more than a mere distortion box, then, the HG-2 can impart subtle harmonic colouration and sparkle — and all without compromising fidelity, or add superior saturation that totally changes the sound characteristics.
Closely collaborating with Black Box Analog Design, founding Plugin Alliance development partner Brainworx began by modelling the HG-2’s sweet-sounding tubes and creamiest of transformers, then added a whole host of powerful digital modifications to greatly expand the processor’s tonal palette and range of saturation-based compression when finally emerging from the Plugin Alliance stable as its HG-2 plugin namesake. 

100% AAX DSP Bundle V1.4 trailer:
Also new to 100% AAX DSP Bundle V1.4 is bx_subsynth, a unique processing plugin built around the digital heart and soul of the (discontinued) dbx 120XP Subharmonic Synthesizer, using founding Plugin Alliance development partner Brainworx’s M/S (Mid-Side) matrix technology to control the stereo field and add sub, punch, and saturation to sounds. Inspired by its superior subharmonic synthesis, Brainworx began by making a meticulous model of the legendary hardware’s Waveform ModelingTM engine, which generates discrete bass frequencies one octave below whatever is fed into it. Indeed, this was the secret weapon of many DJs, audio post professionals, and mix engineers for adding clean and powerful low end to sounds while shaking anything and everything within earshot.

But far from simply seeking to emulate what had gone before, Brainworx took to supersizing the feature set of the original processor from which it took that inspiration by implementing a whole host of fanciful features to take things even higher — or, better said, lower! The result? Tighter, clearer, bigger, and resonant sounding bass can be synthesized from even the most meagre of sounds, such is the unprecedented level of power brought by bx_subsynth. As an indispensable tool that can totally transform the way that low-end sound is designed and processed, bx_subsynth is truly the Holy Grail for bass junkies! 

Jesting apart, another 100% AAX DSP Bundle V1.4 entry of note is the trailblazing bx_console channel strip. Tolerance Modeling TechnologyTM (TMT) not only enables this plugin to faithfully emulate Brainworx CEO Dirk Ulrich’s personal Neve VXS large-format mixing console, but also captures the natural unit-to-unit variations in individual channel strips! These variations are based on the stated tolerance specifications of the console designer and component manufacturer, making for a new standard of analogue realism for ‘in the box’ mixing.
Mixing material — music or otherwise — to the highest possible standard is but a click away with 50 premier plugins always at the ready, thanks to the latest 100% AAX DSP Bundle V1.4 from Plugin Alliance. Pro Tools|HDX system owners need never want for more!


100% AAX DSP Bundle V1.4 is available for purchase — as an AAX DSP-, AAX Native-, AU-, VST2-, and VST3-supporting plugin bundle for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — from Plugin Alliance and select VSSD (Virtual Stock Software Distribution) retailers for an MSRP of $3,659.00 USD, representing a serious saving of 57.37% over separately purchasing all 50 plugins included.


(The bundle can also be paid off in 12 easy instalments with no interest charged; 100% AAX DSP Bundle V1.3 owners can upgrade for $160.00 USD, while owners of any Plugin Alliance product(s) will be offered a personal price discounted to reflect any already paid-for plugin(s) — for further information, please see the Plugin Alliance Financing FAQs here: https://www.plugin-alliance.com/en/support.html.) 

Note that the proprietary Plugin Alliance Installation Manager means that all 50 plugins included in 100% AAX DSP Bundle V1.4 can be downloaded and installed in one seamless motion; all will run as 14-day fully-functioning demos with no dongle required — simply activate a Plugin Alliance account here: https://www.plugin-alliance.com/en/registration.html
For more in-depth information, please visit the dedicated 100% AAX DSP Bundle V1.4 webpage here: https://www.plugin-alliance.com/en/products/100_aax_dsp_bundle_v1_4.html


About Plugin Alliance (www.plugin-alliance.com

Based in Wilmington, DE, USA, with offices in Santa Cruz, CA, USA, Plugin Alliance is more than just a website; it is a new ‘Über- standard’, supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof. It empowers world-renowned analogue hardware companies with a digital strategy and provides software developers with services that allow them to develop products with increasing quality and quantity. It does this by providing world-class marketing and distribution, as well as platform features like a state-of-the-art authorisation system.The Alliance is more than just a group of partner companies; it is a rapidly growing community of artists, engineers, producers, and industry luminaries who have joined to share what they have learned.

bx_subsynth subharmonic: bass processing by Plugin Alliance

Press News
Plugin Alliance announces availability of bx_subsynth subharmonic bass processing plugin

“A lot of guys know how to take a record and make it an ‘A’ record, sitting in front of a computer using plugins, but there are a very small group of people who are able to make ‘A+’ records. The hardest part is the last 5% of the mix — that’s when those great records are made, and this plugin is one of those plugins that takes it from a 95 to a 100.”

- Dave Audé, Producer/Remixer/DJ (Mark Ronson, Beyoncé, Sting)
Plugin Alliance, a new ‘Über-standard’ supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof, is proud to announce availability of bx_subsynth a unique processing plugin built around the digital heart and soul of the (discontinued) dbx 120XP Subharmonic Synthesizer, using founding Plugin Alliance development partner Brainworx’s M/S (Mid-Side) matrix technology to control the stereo field and add sub, punch, and saturation to sounds.

Inspired by its superior subharmonic synthesis, Brainworx began by making a meticulous model of the legendary dbx 120XP Subharmonic Synthesizer’s Waveform ModelingTM engine, which generates discrete bass frequencies one octave below whatever is fed into it. Indeed, this was the secret weapon of many DJs, audio post professionals, and mix engineers for adding clean and powerful low end to sounds while shaking anything and everything within earshot. But far from simply seeking to emulate what had gone before, Brainworx took to supersizing the feature set of the original processor from which it took that inspiration by implementing a whole host of fanciful features to take things even higher — or, better said, lower! The result? Tighter, clearer, bigger, and resonant sounding bass can be synthesized from even the most meagre of sounds, such is the unprecedented level of power brought by bx_subsynth

So how, exactly, does bx_subsynth do what it does and, more to the point, why does it do it so well? For starters, bx_subsynth generates subharmonics in up to three discrete frequency bands verses the original hardware’s two; the addition of a higher (56-80 Hz) Synthesized Frequency bass band for resynthesis — searching for the dominant frequency in the range of approximately 112-160Hz to synthesize a sub- octave from it — allows anyone to capture and nosedive the fundamental frequencies of a much wider variety of instruments, including snare drum and acoustic guitar. The Tight Punch control — a 6th-order resonant Butterworth high-pass filter at the input that can be used with or without the subharmonics summed in — creates crystal-clear, body-thumping bass by adding a resonant sub-bass peak and filtering out unwanted lows below its cutoff frequency. Powerful Edge processing permits selecting from two modes of operation — Smooth and Harsh — that compress and saturate tracks to deliver super-compact or explosively-trashy drums and throbbing, in-your-face bass guitar. Get this, though... being a Brainworx-branded plugin, bx_subsynth is truly the surgeon’s knife of stereo imaging, of course — choose to process only the mid channel or both left and right channels, collapse the processed bass to super-tight mono, and stretch the stereo image for mile-wide mixing!
 bx_subsynth in action in this tantalising trailer: 
But bass EQ cannot do what bx_subsynth does. Discrete frequencies generated by bx_subsynth set aside more space across the bass frequency band for other instruments, so sub-synth bass can be jacked up without muddying mixes. Moreover, EQs cannot boost bass in a thin track that is lacking in bottom end to start with, whereas bx_subsynth does not just boost bass, but also adds new bottom end! Unlike psychoacoustic bass processors that trick the human brain into hearing ‘phantom’ subharmonics that are non-existent and cannot be physically felt, bx_subsynth adds real sub-bass that will shake your body — Boom! shake-shake-shake the room-style!

Seriously, bx_subsynth is a serious tool that can be applied to almost anything... retune drum tracks by dialling in higher subharmonics for rack toms and lower ones for the floor tom to create colossal, pounding drum fills; boost different subharmonics on a kick drum and bass guitar to separate their respective sounds in the mix for increased clarity and punch; add subterranean thunder to sustained left-hand octaves on piano tracks; automatically generate a perfectly synchronised bass line from the bottom strings played on an arpeggiated acoustic guitar track — two knob twists are all it takes to focus the bass line’s image dead-centre and massively widen the guitar’s stereo image by up to 400%!
Remastering engineers can use bx_subsynth to add a fat bottom end to thin vinyl masters and old recordings made on narrow-gauge multitrack tape recorders. Sound designers can pump up weak cinematic effects with terrifying lows. DJs can turbocharge their sound systems’ low end to woofer-shattering extremes. Whatever the application, this is one helluva bone-rattling big bottom end that can be felt as well as heard!
Here it is, then... as an indispensable tool that can totally transform the way that low-end sound is designed and processed, bx_subsynth is the Holy Grail for bass junkies. Just ask Dave Audé! 

Legal Disclaimer: dbx and 120XP are registered trademarks of Harman, Inc. bx_subsynth was developed by Brainworx Music and Media GmbH based on its own modelling techniques. Neither Harman, dbx, or any of their affiliates have endorsed or sponsored bx_subsynth in any manner, or licensed any intellectual property for use in this product. 

bx_subsynth is available for purchase — as an AAX DSP-, AAX Native-, AU-, VST2-, and VST3-supporting plugin for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — from Plugin Alliance and select VSSD (Virtual Stock Software Distribution) retailers for $149.00 USD. (Note that the proprietary Plugin Alliance Installation Manager means users can select, download, and install only the products and formats needed for their system.)
For more in-depth info, including several superb-sounding audio demos, please visit the dedicated bx_subsynth webpage here: https://www.plugin-alliance.com/en/products/bx_subsynth.html 
About Plugin Alliance (www.plugin-alliance.com

Based in Wilmington, DE, USA, with offices in Santa Cruz, CA, USA, Plugin Alliance is more than just a website; it is a new ‘Über- standard’, supporting all major plugin formats and uniting some of the best-known international audio companies under one virtual roof. It empowers world-renowned analogue hardware companies with a digital strategy and provides software developers with services that allow them to develop products with increasing quality and quantity. It does this by providing world-class marketing and distribution, as well as platform features like a state-of-the-art authorisation system.The Alliance is more than just a group of partner companies; it is a rapidly growing community of artists, engineers, producers, and industry luminaries who have joined to share what they have learned.