Wednesday, 20 September 2017

Newfangled Audio partners with Eventide to release novel EQuivocate auditory graphic EQ plug-in

New audio tools creator Newfangled Audio is proud to announce availability of EQuivocate — entering the EQ fray for free (initially) with a plug-in premiere based on the critical bands of the human ear.



EQuivocate is the ideal EQ for naturally changing the tone of any sound, so it is perfect for mixing and mastering applications. As EQuivocate uses filters that are modelled on the human ear, each of its 26 bands tickles a different part of the inner ear, making any combination of settings sound as natural as ‘humanly’ possible. Combining this with a linear-phase filter shape that reduces pre-echo makes EQuivocate an EQ with a difference that can clearly be heard.

Use EQuivocate’s Match EQ feature to make the sound of your track match or complement the audio signal streamed to its sidechain. You can also use it to make a final master match the tone of a reference track, or help fit a sound into a dense mix. Unlike other match EQ plug-ins, EQuivocate provides a transparent match without trying to model imperceptible differences which can cause a match EQ to sound unnatural. Feed your favorite song or individual track into it and instantly morph your tone to match.
 
Features:
 • Simple yet musical, the 26 linear-phase auditory filters are shaped to approximate the critical band filters in your ear.
 • Match EQ feature matches the tone of one track to another. Blend two tracks to sound like they came from the same source, compliment each other for better separation, or make a final master have a similar tone to a reference track!
 • Click and swipe your mouse across the gain slider field to draw an EQ curve. Then toggle DRAW CURVE off to fine tune.
 • Use the OUTPUT level AUTO button to automatically compensate for level changes introduced by the EQ.
 • Solo the output of one or more bands to easily find problem frequencies.
Add or remove filters to customize your sound.
 • Includes artist presets from Richard Devine, Jeremy Lubsey, Alex Saltz, Sebastian Arocha Morton, Richard X, and John McCaig.
 • Start with the presets or create your own. Use the COMPARE button to toggle between two unique settings.

EQuivocate is exclusively available through Eventide (as an AAX/AU/VST plug-in for Mac OS X 10.7+ and Windows 7+) for free until October 31, 2017 — rising to an MSRP of $99.00 USD. Visit: https://www.eventideaudio.com/equivocate for more information.
About Newfangled Audio (www.newfangledaudio.com)
Newfangled Audio was started by former Eventide DSP engineer Dan Gillespie. By combining traditional signal processing techniques with advances in the field of machine learning the forward-thinking startup is creating the best-sounding audio tools available.
© 2017 Newfangled Audio

Tuesday, 19 September 2017

Unfiltered Audio launches out of this world-sounding SpecOps spectral effects processing plugin with Plugin Alliance


“SpecOps is one of the most unique plugins I have come across. The modular automation control over the 30 spectral transformation modes is absolutely insane! The sounds are completely out of this world!” - Richard Devine, electronic musician and sound designer, 2017

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 SpecOps — extending Californian coding masterminds Unfiltered Audio’s Plugin Alliance partnership with complex and powerful processing packed into an easy-and-fun-to-use plugin possessing 36 diverse and flexible spectral effects, ranging from subtle to extreme, so sound designers and electronic music producers can easily access a multiverse playground of special effects and sweeteners that can deconstruct sounds at the spectral level and reconstruct them in new and exciting ways.

As implied by name, SpecOps allows application of frequency-dependent gain, compression, or distortion to complex sources such as drums or vocals with spectral accuracy and a unique workflow to offer a fresh approach to conventional practices. Putting FFT (Fast Fourier Transform) analysis at its creative heart, the plugin splits audio into hundreds — or even thousands — of frequency slices (or ‘bins’), which can then be manipulated by a slew of onboard spectral effects. End users can select from 36 effects — including more usual suspects (such as Filter, Freeze, and Clip) or from more unique-sounding selections (such as Contrast or Decapitate) — to apply on one of three fully-adjustable bands that can zero in on parts of the source’s spectra at extremely high resolutions. Reality dictates that this can be used to boost/cut, add distortion, or compress with surgical precision — or even dissect and demolish audio parts to create a totally new sound!
Still better, the onboard Spectral Compander compresses or expands per-frequency-slice (per-bin), so dynamics of anywhere between 128 to 32,786 slices (based on the FFT Size setting) are individually analyzed and treated simultaneously! Source- and resolution-dependent dynamics uniquely transform timbres to reveal sonic character that the user never knew was there!
There are also a number of global parameters equally worthy of deeper exploration, including a super-clean Pitch Shifter that goes up or down an octave — great for vocal effects; Speed and Freeze controls that smear and lock SpecOps’ sample analysis, delivering anything from sweet and subtle ambient pad effects to powerful spectral synthesis; and a powerful, 2-pole analog-style lowpass Filter.
 Watch Plugin Alliance’s tantalizing trailer for SpecOps
Furthermore, Unfiltered Audio’s flagship, freely-assignable MODULATION system sees SpecOps through to a higher state of interaction, including seven built-in modulators — namely, a powerful ,16-step sequencer; input follower; sample and hold noise; four different LFOs (Low Frequency Oscillators); macro control (can be used with any MIDI controller); and a ROLI Lightpad module (for hands-on control courtesy of ROLI’s revolutionary Lightpad Block controller)… all of which can be routed simultaneously to any and all control knobs and sliders, thanks to intuitive drag-and-drop-style ‘cables’ connecting those modulators to almost any parameter.
 Watch Urban Sound Studio’s Todd Urban’s SpecOps tutorial
Put it this way: the applications are truly limitless with SpecOps, spanning moderate processing for music production to severe mangling for sound design. It is truly an interstellar transporter to new worlds in electronic and experimental music, so putting all those creative options into their rightful perspective is an enlightening experience. Tired, static synth pads come alive when modulating the levels, filtering, pitch, noise, or distortion in different frequency bins, creating ever-shifting timbral patterns that user preset libraries could only dream of. Don’t own a synth? Don’t worry. Why not freeze audio on an acoustic instrument track and apply pitch shift to create a spectral synthesizer? Either way, experimental music producers and sound designers can use SpecOps’ train-wrecking effects to brutally transform a hi-hat track into bursts of alien static or make pristine vocal tracks sound like R2D2 with a sore throat! That said, SpecOps is also an industrial music producer’s destructive weapon. Why not modulate a frequency-dependent clipper on an electric bass guitar track to add nasty bottom-end distortion that pulsates perfectly in time to the music’s tempo? Why not, indeed!

Intriguingly, for all its brute strength, SpecOps can conversely be polite — problem-solving to boot. Brittle electric guitar tracks can be warmed up by using the envelope follower to modulate SpecOps’ Reverse algorithm. At the other end of the musical scale, SpecOps can automatically find and attenuate the weakest bass frequencies on a full mix, clarifying and bringing focus to the bottom end. Add more power and punch to mixes while automatically taming unbalanced frequency peaks by using SpecOps’ Spectral Compander to independently compress thousands of frequency bins at once. Or use the spectral lowpass and noise filters along with pitch modulation to temporarily create thin, flanged breakdowns on full mixes to startling effect.

Effectively, then, the choice is in there… just ask Richard Devine, an acclaimed sound designer who has contributed patches for prominent products by a number of notable hardware manufacturers and software developers over the years. After all, his name features prominently amongst the hundreds of out of this world-sounding presets included with SpecOps!

SpecOps is available for purchase — as AAX AudioSuite-, AAX Native-, AU-, VST2-, and VST3-supporting plugin formats for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — exclusively from Plugin Alliance at an introductory promo price of $89.00 USD until October 20, 2017, rising to an MSRP of $129.00 USD thereafter.

Fully-functional, 14-day trials are available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html
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 information, including several superb-sounding audio demos, please visit the dedicated SpecOps webpage here: https://www.plugin-alliance.com/en/products/unfiltered_audio_specops.html
About Plugin Alliance (www.plugin-alliance.com)
Santa Cruz, California’s Plugin Alliance offers industry-leading pro audio plugins and plugin bundles from acclaimed developers such as Brainworx, Chandler Limited, elysia, Black Box Analog Design, and SPL with customer-friendly prices, licensing procedures, and financing options. Far 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.
About Unfiltered Audio (www.unfilteredaudio.com)
Southern Californian music software company Unfiltered Audio was founded upon the simple idea that music software should be created by musicians. Joshua Dickinson studied composition at Columbia University in New York City; after stumbling into a full-wall RCA Mark II at the Computer Music Center, he became obsessed with signal processing, custom instruments, and computer-aided creativity. Michael Hetrick, PhDC, studied digital media at Vanderbilt University in Nashville, Tennessee while working as a Pro Tools tech for local studios; his passion for modular synthesizers and experimental sound design led him towards a goal of developing performance-focused interfaces for feature-rich audio processors. They joined forces with Dr. Ryan Michael McGee at UC Santa Barbara while working on their Masters degrees in the prestigious Media Arts and Technology department; there, they trained under some of the greatest minds in DSP and music technology while receiving guidance in developing their own cutting-edge algorithms. After releasing their first two plugins, Sandman and G8, they have received awards from many sources, including the Audio Engineering Society.
© 2017 Plugin Alliance LLC

Monday, 18 September 2017

Embertone engages with Grammy® Award-winning violin virtuoso Joshua Bell on sampled virtual instrument namesake


Virtual instrument sampling company Embertone is proud to announce availability of Joshua Bell Violin — a creative collaboration with Grammy® Award-winning violin virtuoso Joshua Bell that enables composers, hobbyists, musicians, and performers alike to harness his celebrated sound as an advanced virtual violin for Native Instruments’ industry-standard KONTAKT Player platform that is simple to use, producing expressive and realistic results representing Embertone’s most ambitious release to date .

Several key components combined to transport the tone of a priceless Stradivarius and the musicality of an acclaimed violin virtuoso to the KONTAKT Player platform, producing super-intuitive playability available to all who work with the resultant Joshua Bell Violin namesake plug-in instrument literally like no other in any AAX-, AU-, RTAS-, and VST-compatible host application or DAW (Digital Audio Workstation), with Grammy® Award-winning violin virtuoso Joshua Bell surely first in line to take a virtual bow. But Bell surely needs no introduction as one of today’s most celebrated violinists… but his lengthy list of achievements make for fascinating reading regardless. Restless curiosity, passion, and multi-faceted musical interests maketh the man — a recording and performing artist unparalleled in the classical music world. With more than 40 CDs of recorded classical repertoire to his notable name, alongside standout soundtracks such as the Oscar®-winning score for The Red Violin, he has been warmly embraced by wide-reaching television audiences with appearances ranging from The Tonight Show, Tavis Smiley, and Charlie Rose to CBS Sunday Morning and Sesame Street. Bell was one of the first classical artists to have a music video on VH1 and also the subject of a BBC Omnibus documentary. He has appeared in publications ranging from The Strad and Gramophone to Time, The New York Times, People Magazine (50 Most Beautiful People), USA Today, The Wall Street Journal, GQ, Vogue, and Reader’s Digest to name but a notable few. Furthermore, Bell regularly performs on the world’s most prestigious stages — from Carnegie Hall (33 times) to the Hollywood Bowl — with his 1713 Huberman Stradivarius violin and his late-18th Century French bow by François Tourte.
That 1713 ‘Huberman’ Stradivari violin now owned by Bell has a thrilling history, however. Formerly known as the ‘Gibson’ Strad, the violin was twice stolen from the Polish violinist Bronislaw Huberman and for nearly 50 years remained undiscovered in plain sight, disguised by its thief — a café violinist by the name of Julian Altman, who made a deathbed confession to his wife. After Altman’s death, his wife had the violin authenticated and reported to the proper authorities. An acclaimed English violinist, Norbert Brainin, bought it, subsequently selling it to a dealer who had an investor eyeing it as a museum piece. But Bell intervened, showing great empathy for the instrument in question — which he felt must be played — and also for its rightful owner, Bronislaw Huberman — who had passed away in 1947, by buying the violin for nearly $4 million, selling his own $2 million 1732 Tom Taylor Strad in the process. Put it this way: “The connection between violinist and violin, it becomes almost like your soul mate.” So says Bell, before adding: “Some people compare it to getting married.”
 Watch Embertone’s sneak peek-style preview of Joshua Bell Violin
The rest, as they say, is history, and Bell uses the historic instrument in question exclusively to this day! But better still, the fact that a musician of Bell’s pedigree plumped for creatively collaborating with Embertone — esteemed as they are in their chosen field of virtual instrument sampling — surely speaks volumes. Both teams met at Avatar Studios — a world-class recording studio complex (formerly known as The Power Station) — in Hell’s Kitchen, New York for two intense six-hour sessions over two days. During that time, Bell was rigorously recorded making more than 12,000 unique samples across a diverse set of articulations. Those two sessions were engineered by Richard King, himself a Grammy® Award-winning sound artist. Alex Davis and Jonathan Churchill — Embertone co-founders and instrument producers — sat in the room with Bell, holding their collective breath for the entirety of each session — hardly surprising, given that they had prepared 400-plus pages of score, and Bell had played every note on every page with astonishing artistry and energy. Embertone worked hard over the following year, harvesting each and every musical moment, refusing to waste any creative content. Clearly the result is an enormous treasure trove of inspired, expressive samples!
 Meet the teams behind Joshua Bell Violin here
Setting out to create a new standard in virtual solo strings, offering an abundance of flexibility without sacrificing inspiration — and all with the unmistakable, iconic sound of Joshua Bell himself, Embertone has achieved all that and more with Joshua Bell Violin. Indeed, it offers a huge variety of standard articulations — such as sustains, pizzicatos, staccatos, and spiccatos — alongside a number of sample sets unlikely to be found elsewhere besides… Bell recorded an amazing-sounding set of eerie harmonics transitions, for example, and also a set of super flautando, a special technique he can harness from his 300-plus-year-old violin.
 Watch Embertone’s teaser trailer for Joshua Bell Violin here
As an advanced virtual violin for Native Instruments’ industry-standard KONTAKT Player platform, Joshua Bell Violin is incredibly complex, featuring almost 20,000 individual samples. Yet it is designed to feel simple, thanks to the intelligent and predictive programming using a diverse array of musical properties and rule sets. And with 12 true legato/transition styles, Joshua Bell Violin allows users to play at various tempos, dynamics, and in different styles — all the while sounding authentic… akin to stepping into the shoes of one of the world’s greatest violinists and experiencing a priceless Stradivarius at their fingertips, courtesy of those thousands of rigorously-recorded samples perfectly performed by the virtuoso himself!

Whether warranting marriage is open to question, but one thing’s for sure: Joshua Bell Violin is a musical match made in heaven for composers, hobbyists, musicians, and performers alike. Anyone adding it to their KONTAKT Player instrument collection will surely be far from disappointed that Embertone engaged with Grammy® Award-winning violin virtuoso Joshua Bell on this sampled virtual instrument namesake!
 
Joshua Bell Violin is available to purchase and digitally download as a fully NKS™ (NATIVE KONTROL STANDARD) supporting plug-in instrument for any AAX-, AU-, RTAS-, and VST-compatible host application or DAW running on Mac (OS X 10.10, 10.11 or macOS 10.12 — latest update) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit) directly from Embertone for a one-week introductory price of $179.00 USD (rising to $199.00 USD thereafter.)

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated Joshua Bell Violin webpage here: http://www.embertone.com/instruments/joshuabellviolin.php

About Embertone (www.embertone.com)
Embertone is a virtual instrument sampling company whose mission is simple: sample the heck out of great instruments, and bring them to the composing community to inspire and create awesome new music! As such, their goal is to capture the essence of an instrument and its performer, and program it into an intuitive, musical, and affordable package. This approach paved the way for a next-gen collaboration with Grammy® Award winner Joshua Bell, one of today’s most celebrated violinists.

Friday, 15 September 2017

Schmidt Eightvoice Analog Synthesizer thoroughbred back in black (and white) with third 25-unit batch beckoning


Schmidt-Synthesizer, makers of the no-expense-spared namesake Schmidt Eightvoice Analog Synthesizer thoroughbred, is proud to announce that it is taking orders on a third batch of 25 units — with upcoming availability in both black and white colour finishes.

That no-expense-spared Schmidt Eightvoice Analog Synthesizer was, without doubt, a showstopper when namesake hardware and software designer Stefan Schmidt’s hand-crafted first prototype unit debuted at Musikmesse 2011 in Frankfurt, Germany. Subsequently supported by e:m:c (electronic music components) — German distributor of several key electronic musical instrument brands (including Mellotron, Moog, and Vintage Vibe), Stefan Schmidt’s ‘one-off’ dream machine made it into production as a sound designer’s dream — albeit bravely built as a limited 25-unit batch of what was quite possibly the most expensive analogue eight-voice polyphonic synthesizer the world had yet seen and heard! However, a cursory glance at its complex four-oscillator structure clearly convinced even the most skilled synthesists that the Schmidt Eightvoice Analog Synthesizer was capable of creating complex timbres that go way beyond the capabilities of conventional analogue synthesizers, so Schmidt-Synthesizer's first batch (slowly) sold out… onwards and upwards, ultimately, a second 25-unit batch was billed as being the last.
Who better to put this third batch of 25 (unplanned) units into its rightful perspective, then, than Schmidt-Synthesizer Product Manager Axel Fischer: “Last year we assumed that the second batch would also be the last. The Schmidt Eightvoice Analog Synthesizer’s sound engine electronics are mainly of ‘old school’ stock, with through-hole mounting technology, and pricing for those components have been rising steadily for years. Yet since the second batch of 25 units — ultimately, we ordered some extra components, so there were actually 27 — sold out within 14 months, those component prices are acceptable. So since the Schmidt Eightvoice Analog Synthesizer still enjoys serious support, we’re happy to announce that additional units of this wonderful instrument will be available in 2018. At the moment, we're still finishing fulfilling orders for the second batch, but orders for the third batch can be placed as of now.”

No need to necessarily order one (or more) in black, though. This time the Schmidt Eightvoice Analog Synthesizer is back in black, but also available to order in white, which looks stunning — sounds stunning, too, with the same seriously well-specified feature set as the original. Oscillator 4 is worth highlighting, however; thanks to its chain of five ring modulators fed by six pulse-waves, each with different pulse-widths, it can create colder, wavetable-like sounds — despite being fully analogue! These truly unique features are unavailable in any alternative analogue synthesizer out there, let alone any alternative analogue polysynth! Subtractive synthesis clearly knows no bounds here, helping to make the Schmidt Eightvoice Analog Synthesizer a shining example of no-expense-spared synthesizer design, deploying discrete sound generation circuitry throughout — no integrated oscillator/filter circuits on a single chip, for instance, in keeping with the highest possible production standards. Still better, each and every parameter is directly accessible via dedicated controls on a seriously spacious front panel with adjustable angle and user-adjustable coloured LEDs (Light Emitting Diodes).

Back in black and white, the Schmidt Eightvoice Analog Synthesizer sounds and looks like the sum of its pricey parts. Put it this way: this is synthesizer history in the making. Making one is a tall order. Making 25 more is subtractive synthesis manna from heaven!

Schmidt Eightvoice Analog Synthesizer pricing remains stable at €19,900.00 EUR (including German VAT) for a black unit, with white weighing in at €20,900.00 EUR (including German VAT). Either way, e:m:c (electronic music components) are accepting orders here: info@emc-de.com

For more detailed information, please visit the dedicated Schmidt Eightvoice Analog Synthesizer website here: http://www.schmidt-synthesizer.com

About Schmidt-Synthesizer (www.schmidt-synthesizer.com)
Back in the techno music-driven Nineties, German company MAM’s MB-33 Analog Retro Bass Synthesizer — an authentic-sounding clone of Roland’s reverential TB-303 Bassline that was commanding crazy money on the second-hand market at the time — represented Stefan Schmidt’s first foray into serious (and successful) electronic musical instrument design. Its planned successor — a clone of the majestic Moog Taurus bass synthesizer, much loved by the likes of Canadian prog-rockers Rush — remains at a prototype stage only. Instead, its instigator took a radical detour, spending some serious time thinking about and developing what would become his namesake dream machine, the no-expense-spared Schmidt Eightvoice Analog Synthesizer — surely one of the most ambitious analogue synthesizer projects ever undertaken. After a show-stopping showcase at The NAMM Show 2013, Stefan Schmidt’s hand-crafted first prototype unit was promptly purchased by a suitably captivated customer directly from the show floor… the rest, as they say, is history. Here today, but not gone tomorrow, Schmidt-Synthesizer sees Stefan Schmidt continuing to turn his dream machine into reality with a dream team triumvirate: Achim Jerominek (production), Axel Fischer (product management), and e:m:c (electronic music components) President Stefan Hund (manufacturing)

© 2017 Schmidt-Synthesizer

Wednesday, 13 September 2017

Impact Soundworks shreds SHREDDAGE bundle pricing in association with Audio Plugin Deals

 

Audio software creator Impact Soundworks is proud to announce availability of SHREDDAGE GUITAR BUNDLE — comprising SHREDDAGE 2, the ultimate rock/metal electric guitar virtual instrument; SHREDDAGE 2 IBZ, featuring the ultra-aggressive sound of a legendary seven-string heavy metal guitar paired with the company’s most powerful KONTAKT engine yet; SHREDDAGE 2 SRP, featuring an all-American seven-string guitar perfect for rock, metal, and beyond, as performed by metal hero and YouTube star Jules Conroy (FamilyJules7x); and SHREDDAGE 2 CLASSIC, the brutal SG Standard sound of the original SHREDDAGE, supercharged and ported to the advanced SHREDDAGE 2 engine — at a time-limited 81% saving (including two ‘mystery’ products) in association with Audio Plugin Deals, an amazing web store dedicated to providing high-quality, high-value audio software at deeply-discounted, no-brainer prices.

SHREDDAGE 2 covers the entire range of lead and rhythm guitar playing — every fret, every string, and tons of articulations. A powerful interface allows for easy playing and deep customisation. With Native Instruments’ industry-standard KONTAKT PLAYER platform included alongside Peavey's ReValver HPse amp modelling software, SHREDDAGE 2 has everything needed to shred!
Saying that, literally and figuratively there’s much more virtual shredding to be had with Impact Soundworks’ SHREDDAGE GUITAR BUNDLE, boosted further still thanks to those two ‘mystery’ products (valued at $78.00 USD) included alongside SHREDDAGE 2 IBZ, SHREDDAGE 2 SRP, and SHREDDAGE 2 CLASSIC courtesy of that time-limited saving in association with Audio Plugin Deals — tens of thousands of samples in total with stunning realism and tons of articulations to pick and choose from!
Features worth shouting about — above and beyond SHREDDAGE GUITAR BUNDLE’s bargain pricing — include: 12GB total download size; MIDI guitar pickups compatibility; works with any amp/cab sim; multiple picking modes/behaviours; dozens of playing techniques; double- and quad-tracking capabilities; virtual fretboard display with deep tweaking; custom-built FX rack with amp + cab sim; hi-gain FX presets for instant gratification; completely customisable articulation mapping; and all-new ADVANCED tab to allow under-the-hood-style editing… the list goes on.
On the face of it, then, there has never been a better time than now to take advantage of this unmissable deal and add virtual shredding to today’s software-centric setups. Best be quick, though… this Audio Plugin Deals-driven discount ends on September 20!

The time-limited SHREDDAGE GUITAR BUNDLE bargain can be purchased and instantly downloaded directly from Audio Plugin Deals for $99.99 USD until September 20, 2017 from here: https://audioplugin.deals/ref/18/?campaign=HHDR (Note that purchasers are then redirected to complete their order here: https://impactsoundworks.com/product/shreddage-guitar-bundle/)

While SHREDDAGE GUITAR BUNDLE is completely compatible with Native Instruments’ KONTAKT PLAYER (version 5.5 or higher), note that the ‘mystery’ products require the full version of KONTAKT.
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!
© 2017 Impact Soundworks

Thursday, 7 September 2017

NUGEN Audio announces two new encoding flavours for updated MasterCheck Pro mix-optimising solution

“MasterCheck Pro feels like a gift from the future. For essential, realtime loudness and codec referencing, nothing else comes close.” - Mandy Parnell, GRAMMY® Award-winning mastering engineer (Aphex Twin, Bjork, White Stripes), 2017

Innovative, intuitive professional audio tools creator for high-end music producers, post-production engineers, and broadcasters NUGEN Audio is proud to announce availability of v1.4 of MasterCheck Pro — placing FLAC (Free Lossless Audio Codec) and Opus encoding flavours in its indispensable, award-winning loudness, dynamics, and codec toolset to enable mix-optimising music professionals to hear and visualise yet more popular playout encoding and loudness matching techniques increasingly in use by music streaming services such as Apple Music® and Spotify.

The term codec is an acronym for coder/decoder. Music streaming services such as Apple Music® and Spotify use codecs to reduce the data bandwidth required to stream audio to the consumer. Codecs affect audio quality, sadly, so it is important to be able to audition them in realtime in a DAW (Digital Audio Workstation) in order to mitigate side effects caused by intersample clipping and bit depth reduction. Which is exactly where NUGEN Audio are able to offer assistance.
As implied by name, that all-important auditioning is all accomplished within the company’s award-winning MasterCheck Pro loudness, dynamics, and codec toolset. Today, the latest update brings two new encoding flavours, FLAC and Opus, to the music production table. Opus is one of the YouTube formats; FLAC is often used for downloads as it is a high-quality (lossless) format — for example, exploited by self-styled High Fidelity Music Streaming service TIDAL.
That said, all is not necessarily as it might first appear. As another acronym, FLAC, for instance, is literally lossless. Like other lossless formats, it uses compression algorithms that preserve audio data so the audio is exactly the same as the original source (input=output). On the face of it, this is true… when encoding within the same bit depth, like for like. This is not what happens, however, when audio exits a DAW destined for FLAC; for FLAC is usually used to encode at 16 bit, but this conversion from 32 to 16 bit is not guaranteed lossless. Looking into it further, FLAC also uses integers while DAWs deploy floating-point representations, so there is an additional complication even when producing a 32-bit FLAC stream. So MasterCheck Pro can be used to audition those conversions while an upcoming update to ISL — NUGEN Audio’s transparent look-ahead limiter for true-peak compliance — can soon be used to add suitable dither to mitigate the effect of quantisation errors if necessary.

Watch GRAMMY® Award-winning mastering engineer Howie Weinberg wax lyrical
about mastering for the internet age with MasterCheck Pro
NUGEN Audio are clearly continuing to support MasterCheck Pro as a complete solution for optimising mixes for today’s music delivery services. Streaming apps, download stores, websites, and podcasts all use data compression, loudness matching, or both. These processes can affect mixes in various undesirable ways with what once sounded loud and punchy possibly ending up quiet and flat, or suffering from clipping or distortion. Don’t just mix for CD and hope for the best. By using the updated MasterCheck Pro problems are revealed ahead of time, enabling engineers like the GRAMMY® Award-winning Mandy Parnell to deliver masters perfectly tuned for online playout systems — including TIDAL and YouTube. Added appeal abounds, then, thanks to those two new encoding (Opus and FLAC) flavours.

Hearing how tracks are affected by loudness matching algorithms on different devices and services so knowing how masters respond to different codecs and bandwidths just became better with MasterCheck Pro v1.4… just ask Mandy Parnell.

MasterCheck Pro is available to purchase as a 32- and 64-bit-supporting AAX-, AU-, VST-, and VST3-compatible plug-in for Mac (OS X 10.7 and above) and Windows (Vista and above) directly from NUGEN Audio for £126.00 GBP (ex. VAT)/$199.00 USD/€155.00 Euro (ex. VAT).

For more in-depth information, please visit the dedicated MasterCheck Pro webpage here: https://www.nugenaudio.com/mastercheckpro-playout-loudness-dynamics-codec-metering-aax-au-vst_60
  
About NUGEN Audio (www.nugenaudio.com)
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. NUGEN Audio is pleased to support the goal of fairtrade and donates a minimum of 3% net profit to the Fairtrade Foundation’s work.

Wednesday, 6 September 2017

Brainworx hits home run replicating renowned British console sound with bx_console G plugin

“Growing up in the industry on both E and G Series consoles, I was eager to take the new Brainworx bx_console G for a spin. Having used other companies’ emulations of the same console, I am incredibly happy and impressed with Brainworx’s attention to detail — the channel strip compressor finally has the proper ‘snap’ I’ve been missing from the real console, and all the added features are fantastic… another home run!”- Marc Nelson, GRAMMY®-nominated music producer/mix engineer (Fleetwood Mac, Jason Mraz, Colbie Caillat), 2017

Industry-leading pro audio plugins developer Brainworx is proud to announce availability of bx_console G — an accurate channel strip model of the renowned British G Series large-format mixing console, including both ‘Pink’ and ‘Orange’ EQ revisions, and featuring 72 distinct channels that use Brainworx’s TMT (Tolerance Modelling Technology) for the most realistic analog experience in the box .

Hot on the heels of Brainworx’s acclaimed bx_console E — their trailblazing flagship plugin that pairs a 72-channel emulation of the high-end, hit-making British E Series console complete with comprehensive COMPRESS (compressor/limiter), full-featured EXPAND (expander/gate), powerful four-band parametric EQ, and wide-ranging (high pass and low pass) FILTERS, together with incredibly flexible signal routing (just like the original console), and much more besides — comes bx_console G, growing the company’s collection of TMT channel strip plugins.
Powerful yet different, those true-to-life E Series- and G Series-modeling plugins are distinguished by their respective filter sections — both ‘Pink’ and ‘Orange’ revisions — that deliver a totally contrasting character when treating frequencies. The G is largely known for its more mellow character while the E is more aggressive, but both G Series filters feature proportional-Q behaviour, allowing for more precise gain adjustments while leaving the surrounding frequencies intact. The ‘Pink’ revision also allows the HMF and LMF (midrange) bands to be multiplied (x3) and divided (/3) by a factor of three to allow for an extra-wide range of tone-shaping capabilities. The G Series VCA (Voltage-Controlled Amplifier) also has a lower THD (Total Harmonic Distortion), making it a cleaner compressor option as well.
Watch Plugin Alliance’s tantalizing trailer for bx_console G

When designing bx_console G, Brainworx Owner Dirk Ulrich — an acclaimed producer/engineer in his own right — and his award-winning development team tossed tons of useful extras not found on the original hardware into an already exciting-sounding mix. Mods include: continuously-variable THD control (adds saturation); secondary release time (REL2) compressor control (prevents pumping); dry/wet (MIX)  compressor control; mid (Solo M) and side (Solo S) channel monitoring; and virtual noise floor (V GAIN) control.
Watch Plugin Alliance’s teaser trailer for bx_console G
Channel strip plugins typically only model one channel of a mixer. Applying that same cloned channel across all tracks in a mix — even using different control settings — makes for a flat, narrow, two-dimensional digital sound. But bx_console G avoids this, thanks to TMT taking into account the real-world variation between channels of a hardware console, which lends itself to the complexity and nuance that analog hardware imparts on mixes. Meanwhile, bx_console G’s gorgeous GUI (Graphical User Interface) and acutely low CPU (Central Processing Unit) load lets users instantly recall up to 72 slightly different-sounding channels across all plugin instances on their tracks to create that mixed-on-a-large-format-analog-console sound so sorely missed when working on a DAW (Digital Audio Workstation). When working with bx_console G, however, DAW users can use its RANDOM CHANNEL buttons to easily invoke the random nature of this variation on a single instance of bx_console G, and also randomize the channels across every instance in a mix in one simple click.
Could it be that Brainworx has hereby answered the prayers of anyone yearning to mix their projects on a large-format analog console yet does not necessarily possess the necessary means — monetary and/or room — to do so? So much more than just a channel strip model, bx_console G’s potent modern features clearly create a G Series console on steroids! Indeed, it is hyper-realistic analog large-format console sound for your DAW… just ask Marc Nelson!

bx_console G is available for purchase — as an AAX Native & DSP-, 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) — exclusively from Plugin Alliance for an introductory promo price of $179.00 USD until September 30, 2017,
rising to $299.00 USD thereafter.
(A permanent crossgrade to/from bx_console E for $99.00 USD is also available.)

A fully-functional, 14-day trial is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html

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 information, including several superb-sounding audio demos, please visit the dedicated bx_console G webpage here:
https://www.plugin-alliance.com/en/products/bx_console_g.html

About Plugin Alliance (www.plugin-alliance.com)
Santa Cruz, California’s Plugin Alliance offers industry-leading pro audio plugins and plugin bundles from acclaimed developers such as Brainworx, Chandler Limited, elysia, Black Box Analog Design, and SPL with customer-friendly prices, licensing procedures, and financing options. Far 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.
About Brainworx (www.brainworx-music.de)
Since 2007, Brainworx has developed a reputation for creating sonically-advanced plugin tools at its German HQ. Highlights include the Brainworx-branded M/S-standard EQ, bx_digital V3, and game-changing bx_console channel strip. As the founding development partner of Plugin Alliance, Brainworx has also developed partnerships with SPL (Germany), Shadow Hills Industries (USA), Dangerous Music (USA), Ampeg/LOUD Technologies (USA), Friedman Amplification (USA), and many more besides.
© 2017 Plugin Alliance LLC

Tuesday, 5 September 2017

Antelope Audio adds compression quadrilogy triumph to vintage hardware-based effects library

High-end professional audio equipment manufacturer Antelope Audio is proud to announce the addition of four new vintage compressors (BA-6A, FET-A78, SMT-100A, and Grove Hill LIVERPOOL) to its ever-expanding library of FPGA (Field Programmable Gate Array) vintage hardware-based effects — enabling owners of its Thunderbolt™ and HDX audio interfaces to access unique hardware models of some of the most desirable vintage effects with real-time performance without relying on DSP (Digital Signal Processing) for native processing while letting loose with the alternative Antelope Audio Routing Matrix view.

Antelope Audio’s acclaimed FPGA effects bring audio realism to a new level. Little wonder, then, that they sound, behave, and feel just like real hardware. Why? Well, why not put it in simple terms? They are real hardware! Helpfully, Antelope Audio’s acclaimed Thunderbolt™ and HDX audio interfaces — including Orion Studio HD, Goliath HD, Orion Studio Rev. 2017, Orion32 HD, Zen Studio+, Orion Studio, Goliath, Orion32+, and Zen Tour — feature this new breed of powerful hardware-based audio effects. Encompassing vintage and contemporary collaborative guitar amp and cab simulations alongside Antelope Audio’s augmentations of legendary studio gear, the four new vintage compressors consummately capture the spirit of the company’s commitment to revolutionising the digital audio interface world with its custom FPGA; this not only guarantees the lowest sound latency on the market when creating and streaming multiple mixes, but bestows upon those trailblazing and desirable devices huge hardware modelling capabilities — compression-centric or otherwise!
First out of the new compression starting gate is Antelope Audio’s all-new BA-6A, following in the footsteps of a Fifties-vintage legendary limiting amplifier’s beautiful, effective, and simple design. The hardware unit was originally created for television and radio broadcasting purposes, but became a firm favourite with recording engineers as it was so easy to use and sounded so satisfying. Today that not only holds up, but it is still sought after and used in some significant professional studio facilities globally. Generating three-stage amplification with a moderate drive, hard knee compression, fast attack, and medium release, BA-6A brings a balanced, vintage sound to the present-day production table. Tame the most aggressive and peaking instruments or the wildest mixes without loosing sight or sound of any musical punch!
Anyone seeking some seriously punchy, classic-style compression could — and should — consider FET-A78 nothing short of a serious contender. Historically, its superlative sound supports innumerable pop and rock recordings. Remarkable when processing instruments individually, it is incredibly flexible; try treating drums, guitars, or vocals. Versatility continues when also applied to tracked groups — such as backing vocals, overheads, and stacked synths — or even sound design duties… doesn’t disappoint! Use it in stereo mode or pour it over overly dynamic bass lines so that they finally behave themselves in the mix!
Moving on, as an Eighties classic, SMT-100A is one of the easiest compressor effects to get used to working with. Fortunately for all users, its ease of use does not mean sacrificing sound or effectiveness. Attracted to its fast attack times — perfect for vocals, drums, and punchy bass, the original unit has been the preferred choice amongst audio professionals at the top of their game for over 30 years. Yet Antelope Audio has worked hard to preserve the special sound of this simplistic design and control set in the FPGA domain so users can focus on getting that sound — the smooth touch of vacuum tubes, in other words… without having to technically geek out to master this exceptional Eighties legend!
Rounding out this triumphant quadrilogy of compression, Grove Hill LIVERPOOL is a contemporary fusion of finest American and British compression technologies, making for a familiar yet fresh sound. While its origins can be traced back to the Sixties — a memorable musical era when iconic gear helped shape iconic artists, laying the foundations for unmistakably analogue-flavoured classic rock ’n’ roll records, it is as at home on lush, modern pop productions as it is on classic rock. Rotary knobs for controlling INPUT gain, THRESHOLD, ATTACK time, RECOVERY time, and OUTPUT ATTENUATOR (dB) gain guarantee gorgeous tube compression sounds that are rich, wide, and thick, thanks to their highly interactive nature. Now users of Antelope Audio’s best-in-class audio interfaces can clearly bring body and soul to acoustic guitars; smooth out the midrange of guitar leads, synths, and vocals; or throw it on bass parts for fat, warm sounds. Pushed harder, Grove Hill LIVERPOOL responds in kind, adding a desirable edge without adversely affecting clarity.
BA-6A can be seen and heard in this informative introductory video
BA-6A, FET-A78, and SMT-100A are already available for Antelope Audio’s Orion 32HD, Goliath HD, Orion Studio Rev. 2017, Orion Studio, and Orion Studio HD audio interfaces (with Goliath, Orion 32+, Zen Tour, and Zen Studio+ coming soon), while Grove Hill LIVERPOOL is already available for Antelope Audio’s HDX audio interfaces — Orion Studio HD, Orion 32HD, and Goliath HD — with the rest coming soon. So the addition of these four new compressors to its ever-expanding library of FPGA vintage hardware-based effects enables owners of Antelope Audio’s acclaimed Thunderbolt™ and HDX audio interfaces to ultimately access even more unique hardware models of some of the most desirable vintage effects with real-time performance without relying on DSP or native processing while letting loose with the alternative Antelope Audio Routing Matrix view. 
FET-A78 can be seen and heard in this informative introductory video
Visually, this GUI (Graphical User Interface) allows for fast and intuitive linking between audio interface inputs and outputs, including multiple-channel routing. Usefully, users can now also save and load presets — even across different devices from Antelope Audio! Alternatively, the original Antelope Audio Routing Matrix view is designed to achieve the same result — route inputs to outputs, only the connections are displayed differently. Users can simply switch modes from within the Control Panel desktop software, selecting whatever works best for their workflow. With Antelope Audio, the choice is out there… in more ways than one!
SMT-100A can be seen and heard in this informative introductory video
Freely route and compress to impress with those four new vintage compressors for Antelope Audio’s best-in-class audio interfaces, including powerful processing that can now support up to 32 instances of vintage compressors and 40 EQs, ever widening the scope of creativity available to their ever-expanding user base. Better still, like all Antelope Audio’s free FPGA models, the tonal characteristics of the vintage circuits involved in the original units are authentically recreated… mix and match for a self-contained compression- and EQ-enhanced mixing solution like no other!
Grove Hill LIVERPOOL can be seen and heard in this informative introductory video
For more information about Antelope Audio’s FPGA effects, including a full library list,
please visit the dedicated webpage here:

For more information about the alternative Antelope Audio Routing Matrix view, please visit the dedicated webpage here:
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.

Thursday, 31 August 2017

Impact Soundworks gets PC by making KONTAKT (instrument) with authentic sounds from classic computer sound chips

Audio software creator Impact Soundworks is proud to announce availability of SUPER AUDIO CART PCa virtual instrument including over 1,100 authentic sounds from eight classic computer sound chips, capturing the tones of yesteryear’s beautiful, blocky machines, making them accessible to today’s AAX-, AU-, and VST-compatible production setups via Native Instruments’ industry-standard KONTAKT platform with a powerful four-layer synth engine and 64-slot modulation matrix to create the most complete set of retro computer samples ever.

Impact Soundworks has previously given a selection of legendary sounds from classic video game consoles and handheld systems the sampling treatment with SUPER AUDIO CART, yet only sampled a single (Commodore 64) personal computer in the process — despite the fact that millions of people have been using computers to play games since the Seventies. So, as implied by its RETRO PC SAMPLES subtitling, SUPER AUDIO CART PC sees the company working with OverClocked ReMix — a video game music community with tons of fan-made remixes and information on video game music — to turn their collective talents to capturing over 1,100 sounds from eight classic computer sound chips. Why? Well, the goal with this project — even more so than with SUPER AUDIO CART — is just as much about preservation of the classic sounds involved. Indeed, computer systems from decades past are notoriously unreliable, making it almost impossible to integrate them into a modern music production setup. SUPER AUDIO CART PC, however, allows access to all those classic sounds in AAX, AU, and VST formats as a powerful four-layer synth and modulation engine — just like with the original SUPER AUDIO CART. The stories behind those classic-sounding computer chips make for fascinating reading, really helping to put SUPER AUDIO CART PC into its rightful context from both a preservation perspective and auditory analysis. Alphabetically, then, there is so much more to SUPER AUDIO CART PC than first meets the ear.
 
Released in 1979, the 400/800 series was Atari’s early line of 8-bit home computers. With a then-blazing 1.79 MHz CPU, its primary competitor was the Commodore 64, and it became a bestselling computer of the 8-bit era. Powering its sound capabilities was the Pokey sound chip, sampled by Impact Soundworks, and offering a thick sound, characterised by a detuning of individual sound channels in the system, as well as having multiple forms of distortion available for processing.

Adlib was one of the first standards for the digital music scene. The Canadian sound card is powered by Yamaha’s YM3812 sound chip, which used FM (Frequency Modulation) synthesis to produce multitimbral instruments and sound effects. After the King’s Quest VI game broke the card out of obscurity with highly-praised music and sound effects, it gained popularity due to its versatility and ease of use, finding its way into most retail stores by 1990.

The Aegis Sonix software synth for the Commodore Amiga was a one-time cutting-edge digital replication of a hardware synth with various capabilities that were fairly new for the time. It sports one oscillator and one LFO (Low Frequency Oscillator), offering users an ability to draw custom oscillator and LFO waveforms, alongside an adjustable ADSR (Attack, Decay, Sustain, Release) envelope and lowpass filter, and an ability to add 2nd and 3rd order harmonics to those waveforms, with gritty phase distortion also on offer.
The spiritual successor to the Commodore 64, the Amiga 500 was released in 1987. Although it was popular with hobbyists due to its low price tag, it was most commonly used for gaming, with high-end graphics and audio capabilities for its time. It was eventually discontinued in 1992, replaced by the Amiga 600 and 1200, but neither product proved as popular as the 500 as the market shifted away from typical home computer models. The Amiga 500 itself uses the OSC (Original Chip Set) that was found in many late-Eighties Amiga models, using four hardware-mixed channels of 8-bit PCM (Pulse Code Modulation) audio, up to a sample rate of 28 kHz. It also shipped with a software-controllable lowpass filter.

The Commodore 64 was one of the most widely-used computers of the Eighties — the most popular single computer model ever released, in fact. The C64 was especially ubiquitous in Europe, with a huge range of games and other software available. Audio-wise, it is driven by the famous MOS 6581 SID chip, capable of a wide range of tones. Three independent oscillators, four waveforms, volume envelopes, ring modulation, oscillator sync, and a multimode filter meant that it was blessed with many capabilities not even found in dedicated synthesizers of comparable price at the time.
  Watch Impact Soundworks Lead Developer Andrew Aversa’s walkthrough
and overview of SUPER AUDIO CART PC here
 
As the starting point of many successful Eastern video game franchises, such as Metal Gear and Bomberman, Microsoft’s MSX was very popular in Japan as well as Europe, but never gained much traction in North America. Saying that, the sound chip in the MSX is the AY-3-8910, a three-voice PSG (Programmable Sound Generator) developed in 1978 by General Instrument that produced square wave tones. It is commonly used in various arcade games, gaming consoles, and a plethora of home computers, including the MSX. The PSG generates base frequencies of up to 125 kHz, enabling high resolution and pitch accuracy not found on many sound chips of the era. The MSX could accommodate additional sound chips via expansion cartridges, such as the MSX-Audio (Y8950) and MSX-Music (YM2413) chips, offering traditional FM synthesis timbres. These were also sampled for the SUPER AUDIO CART PC project.

A custom collaboration between Komani and Yamaha, the SCC (Sound Creative Chip) is a wavetable sound chip with 128 bytes of wave samples. It was used to expand the capabilities of the MSX, which only generated square waves, as the wave samples in the SCC could be used to build much more complex waveforms than anything the PSG could accomplish.
A late-Eighties Amiga tracker — which was the first platform for which trackers were developed — was also sampled by the intrepid Impact Soundworks team. The term was coined by the first tracker program, Ultimate Soundtracker, featuring a number-based interface that allows the user to program audio playback by entering codes into specific parts of a grid of time slots. Step sequenced audio sampling software only otherwise existed on the second-mortgage-inducing Fairlight CMI (Computer Musical Instrument) workstation at that time. Those early trackers featured four pitch- and volume-modulated channels of 8-bit PCM samples, using the 8SVX (8-bit Sampled Voice) format.

Developed by Hiroki Nakayama in 1995, WinGROOVE was a PC application that enabled higher-quality playback of MIDI files. It came complete with its own set of WAV samples, rather than using synthesis, and although the software has not been officially distributed for a long time — nor is it supported by modern versions of Windows, Impact Soundworks worked with its creator to retrieve the source files and loop data to provide an authentic sound set in SUPER AUDIO CART PC!

Put it this way: with access to such classic-sounding computer chips and software developers, SUPER AUDIO CART PC faithfully reproduces a wide range of tones, and all such sounds can be used ‘dry’ to create authentic chiptune music or layered in Impact Soundworks’ powerful four-part synth engine for endless tweaking, inspiration, and sound design! Do what you will with them, though the company kindly created a bank of 150-plus modern and reimagined sounds to help jumpstart creativity, as well as including five custom FX (EQ, COMPRESSOR, BITCRUSHER, SCREAM, and DELAY) racks — one for each layer, and one for the global insert bus — and even throw the standalone SNESVerb (AU/VST) plug-in into the fully NKS (NATIVE KONTROL STANDARD) supporting musical mix… for free!

SUPER AUDIO CART PC can be purchased and digitally downloaded (as an authentic-sounding library totalling 8,000-plus samples) directly from Impact Soundworks for $99.00 USD from here: https://impactsoundworks.com/product/super-audio-cart-pc/#purchase (Owners of SUPER AUDIO CART can crossgrade for $79.00 USD.)
Note that SUPER AUDIO CART PC requires the full version of Native Instruments KONTAKT or KONTAKT PLAYER (5.5.2 or higher).
For more in-depth information, including several superb-sounding audio demos, please visit the dedicated SUPER AUDIO CART PC webpage here: https://impactsoundworks.com/product/super-audio-cart-pc/
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!
© 2017 Impact Soundworks