Friday, 17 November 2017

AS announces availability of Mr Hyde and Dr Strangelove synthBlocks signal processors

British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Mr Hyde and Dr Strangelove — introducing its synthBlocks series of small and affordable desktop signal processors with two tantalisingly-named new products squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware processing to their sometimes sterile-sounding computer-based creations.
 
The synthBlocks series represents an all-new range of small and affordable desktop signal processors produced by British boutique electronic instruments innovator Analogue Solutions, an acclaimed company with over 24 years of designing serious-sounding synthesizers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators) to its notable name. Similarly, synthBlocks are all-analogue affairs — albeit with some lo-fi digital effects thrown in for good (musical) measure. Menus and software are all eschewed in favour of a hardy hardware approach. As such, synthBlocks are squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware processing to their sometimes sterile-sounding computer-based creations. Cue simply plugging the synthBlocks in question into an audio interface’s I/O connections, then routing drums, synths, vocals, or whatever out of the DAW (Digital Audio Workstation) and through the transistors and op-amps of the synthBlocks and recording the results back into the DAW. Something similar can be achieved by connecting the synthBlocks to the auxiliary buss of a mixing console — just like any other effects processor. Whatever the workflow, turning the dials and flicking the switches by hand of course changes the sound in realtime — often with radical results. Results of course can be radically different — depending on which of the two available synthBlocks are applied to any given sound signal.
 Watch Analogue Solutions’ Mr Hyde audio demonstration video here:
Many might have heard of Mr Edward Hyde, an abominable alternative personality of Dr Henry Jekyll, a fictional character in Robert Louis Stevenson's Strange Case of Dr Jekyll and Mr Hyde gothic novella first published in 1886. However, hearing Analogue Solutions’ Mr Hyde in the here and now is something else entirely! As announced, Mr Hyde was the first out of the starting blocks in its synthBlocks series as an analogue filter effects box bringing subtle to extreme filtering and modulation effects to the analogue processing production table. To further aid ease of use, Mr Hyde has quarter-inch input and output jacks on its rear, so can be connected straight to an audio interface or mixer without the need for adaptors. The topside of its distinctive blood-red panel features minijack sockets to patch with a semi-modular synth, such as Analogue Solutions’ relatively recently released Fusebox — an aptly-named, three-VCO (Voltage-Controlled Oscillator) true analogue monophonic synthesizer that favourably fuses the company’s characterful vintage sound with an advanced choice of modulation and melodic possibilities (in a beautifully-built box); ever-popular Eurorack small-format modular systems; or other modular systems.
Specification-wise, Mr Hyde doesn’t disappoint by boasting a two-pole 12db/octave analogue multimode filter (featuring lowpass, high-pass, band-pass, and notch filtering options); resonance with a Q BOOST feature to make it SCREAM (self oscillate); LFO with triangle and square wave signals; and a range switch (to bring the modulation speed into audio frequencies). Hands-on control comes quickly, thanks to a selection of switches and knobs — not least the largest knob of all: FREAQ (filter cutoff frequency). Furthermore, the smaller Q knob sets the resonance level, CHANGE changes the frequency range of the LFO from SLOW to FAST at the flick of a switch, SPEED sets the LFO modulator’s speed, and LEVEL controls the modulation level/depth that affects the filter cutoff. More meaningfully, Mr Hyde can change sounds subtly, such as satisfying sweeping filtering, right up to mangled FM (Frequency Modulation) mayhem — perfectly in keeping with its naughty name!

Dr Strangelove is an altogether different character, both literally and figuratively speaking — Stanley Kubrick’s 1964 political satire black comedy Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, anyone? Actually, Analogue Solutions’ Dr Strangelove is a compact, high-quality analogue ring modulator (with two audio inputs) and an analogue LFO capable of going into audio range (with two waveforms), plus a lo-fi echo (giving an ‘analogue’ bucket brigade-style sound). The ring mod itself does not have any controls as such, since a ring mod does not have parameters that can be altered — other than input and output levels. Just plug in audio cables and it does its thing! Ring mods do need two audio sources, however — namely, the main signal to be processed (carrier) and the signal that will modulate the carrier (modulator).

 Watch Analogue Solutions’ Dr Strangelove audio demonstration video here:
In the strange case of Dr Strangelove, one of those sources, the MOD (modulation) input, can be audio or a low frequency signal (from, say, an LFO). Literally switching switches — HARD/SOFT (selects between square and triangle wave modulation signals — triangle resulting in softer modulation while square results in sudden, harder changes) — and turning knobs — CHANGE (sets the modulation depth or ‘loudness’ of the modulating signal fed into the ring mod’s modulation input), RATE (sets repeat rate), and MIX (sets the mix level between fully dry and a 50/50 balance between wet and dry) — makes music mangling child’s play. Other controls clearly allude to the aforesaid film: FALLOUT alters the speed of the analogue LFO modulator while HALF LIFE sets delay time. All told, then, Dr Strangelove is ideal for subtle or extreme modulation effects. Like its Mr Hyde synthBlocks sibling, Dr Strangelove includes minijack (Eurorack-accommodating) audio and CV (control voltage) I/O for direct connection to modulars.

Mangling music setups sonically while adding analogue warmth is a synthBlocks speciality, so why not consider adding one or more of them to your music setup today? And all without breaking the bank while fitting in the palm of your hand! Hand built, having been designed and engineered in England by Analogue Solutions, surely it’s time to wave goodbye to those sometimes sterile-sounding computer-based creations by saying hello to some synthBlocks?

UK pricing for the Mr Hyde and Dr Strangelove synthBlocks is £255.00 GBP (including VAT) apiece, available from dealers (http://analoguesolutions.com/global-distribution/) and Analogue Solutions directly.

North American availability of the Mr Hyde and Dr Strangelove synthBlocks is being handled via Voltage & Company (http://www.vcousa.com) — full-service reps of high-quality manufacturers from around the world — with a retail price of $279.00 USD, while (most) EU distribution is being handled by Sonic Sales (http://www.sonic-sales.de) — one of the largest full-service MI (Musical Instrument) distribution companies in Europe — priced at €279.00 EUR (including VAT).

For more in-depth info, please visit the dedicated Mr Hyde webpage here: http://analoguesolutions.com/mr-hyde-synthblock/

For more in-depth info, please visit the dedicated Dr Strangelove webpage here: http://analoguesolutions.com/dr-strangelove-synthblock/


About Analogue Solutions (www.analoguesolutions.com)
Analogue Solutions is a UK-based boutique instrument innovator that specialises in true analogue synthesizers, sequencers, and Eurorack modules. More than 24 years experience in the industry means that they were right there at the start of the Eurorack revolution — the third company to start producing modules, in fact. Furthermore, Analogue Solutions products are all hand built in England — many being tested by founder Tom Carpenter himself, who has hands-on involvement in all aspects of the company. Characterful to boot, Analogue Solutions innovative instruments are applauded for proudly possessing a truly vintage sound — synthesizers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators) are the order of the day here. Having no memories means that nothing is being made to sound sterile by CPU (Central Processing Unit) control; conversely, turning a knob directly changes the voltage or current in an actual synth circuit to audible affect. Analogue Solutions founder Tom Carpenter consistently constitutes proof of a genuine passion for analogue synths, drawing upon his years of owning and using vintage analogue synths and drum machines that he still uses in his own music productions — alongside Analogue Solutions products, predictably!

© 2017 Analogue Solutions (UK) Ltd

Eventide makes MangledVerb™ Eclipse-popularized fx available as new plug-in from H9 Signature Series

“MangledVerb is one of the most interesting reverbs I’ve ever heard; it’s like running an EMT plate or outboard reverb through a vintage tube amp or analog distortion, but with infinite control over all the parameters of both — and all in one plug-in!”- Lawson White, multi-instrumentalist/composer/producer (Ben Folds, Shakira), 2017

Recording technology trailblazer Eventide is proud to announce the immediate availability of its MangledVerb reverb plug-in as the newest in its H9 Signature Series.

MangledVerb combines reverb and distortion, providing power to create unique spaces full of beauty or drenched in mayhem, with complete control over all the elements. Eventide has repurposed MangledVerb for anyone working ‘in the box’ by following in the footsteps of the first H9 Signature Series plug-in, UltraTap, drawing from some of the most popular and powerful algorithms from its award-winning H9 Harmonizer® Effects Processor stompbox. Similarly, MangledVerb makes a signature effect first popularized in its rack mount Eclipse Harmonizer® Effects Processor available as a namesake new plug-in.
Designed for real-time manipulation, MangledVerb features The Ribbon, an innovative control that allows anyone to program two settings for any combination of the controls to transition between them. The programmable HOTSWITCH helps push creativity further still by enabling users to instantly jump to an alternative setting at the push of a button. Other controls include PRE DELAY, reverb DECAY time and enclosure SIZE, OVERDRIVE, and pre-distortion (post-reverb) equalization, as well as a proprietary WOBBLE parameter. This combination of controls is intended to make MangledVerb as close as possible to the experience of tweaking real hardware.

“I encourage everyone to check out the free demo of MangledVerb,” says Eventide Product Specialist Alan Chaput. “Frankly, it’s a challenge to find words to describe its sonic possibilities. The best I can do is to say that it creates sounds that range from the light friction of a bow scraping a cello string to the mayhem of a caged beast being poked with a red-hot flounder!”

Fortunately, MangledVerb comes complete with over 180 presets from acclaimed artists including Christian Cassan, Richard Devine, and Vernon Reid — enough to whet any appetite before delving deeper into this extraordinary effect.

MangledVerb is available — as an AAX/AU/VST plug-in for Mac OS X 10.7+ and Windows 7+ — at an introductory price of $49.00 USD until November 30, 2017 (rising to an MSRP of $79.00 USD thereafter) from Eventide dealers and its website: https://www.eventideaudio.com (A fully-functional 30-day demo version is available; MangledVerb is also available as part of Eventide’s Ensemble Subscription bundle here: https://www.eventideaudio.com/ensemble)

For more in-depth information, please visit the dedicated MangledVerb webpage here: https://www.eventideaudio.com/mangledverb
About Eventide (www.eventideaudio.com)
Since 1971, Eventide has remained at the forefront of recording technology. In 1975 it revolutionized the audio industry by creating the world’s first commercially available digital audio effects unit, the H910 Harmonizer®. Since then, its legendary studio processors, stompboxes, and plug-ins have been heard on countless hit records.

© 2017 Eventide Inc.

Sunday, 12 November 2017

Mastering engineer extraordinaire Barry Grint gets ATC P2 PRO in on the Alchemy act

“I was very happy with my monitor speakers, but they seemed to lack bass extension; Matt Colton has active ATC SCM150 ASL PROs in his room, so I thought that an ATC amp might give me more bass... the difference wasn’t subtle with the P2 PRO.” - Alchemy Mastering Founder & Director Barry Grint, 2017



Specialist British loudspeaker drive unit and complete sound reproduction system manufacturer ATC is proud to announce that mastering engineer extraordinaire Barry ‘Bazza’ Grint has acquired a P2 PRO Dual Mono Power Amplifier — a true dual mono design delivering 300W of continuous power simultaneously from both channels to drive the most challenging loudspeaker loads with ATC’s signature virtues of wide bandwidth and ultra-low distortion — to enhance the full-range monitoring system in his room at Alchemy Mastering, one of the world’s leading lights in half-speed and pure analogue vinyl mastering…

Mastering engineer extraordinaire Barry Grint’s ‘lifelong’ love affair with The Dark Art Of Audio Mastering — to paraphrase the appropriate website wording for Alchemy Mastering (www.alchemymastering.com), the company he founded in 1998, having previously worked at Abbey Road, Porky’s Mastering, Tape One, and the legendary Trident Studios — led him to a life less ordinary that has been truly extraordinary. “I always wanted to work in a recording studio, but getting in has always been difficult,” he notes. “I had many jobs beforehand, but eventually I started as a tea boy at Trident Studios. Seeing first-hand what being a studio engineer actually entailed, I felt that it wasn’t quite right for me. On the third floor there was disc cutting — vinyl and cassette being the only formats at the time. I immediately felt at home, starting in the tape and cassette copy room, before moving up to vinyl mastering in 1984.”
 
The bright-eared Barry Grint was quick off the mark in making his mastering mark. 1984 alone saw his mastering mojo working wonderfully on classic vinyl singles for Duran Duran (‘The Wilds Boys’), Foreigner (‘I Want To Know What Love Is’), Madonna (‘Like A Virgin’), Van Halen (‘Jump’), and ZZ Top (‘Gimme All Your Lovin’’). Thereafter, things went seriously stratospheric as Barry Grint went on to work with a roll call of rock and pop greats such as Bon Jovi, David Bowie, Paul McCartney, Oasis, Prince, The Beatles, and The Rolling Stones, to list but a few notable names. Speaking of names, the master(ing) craftsman identified his vinyl work by etching ‘Bazza’ in the run out-groove with various incarnations including Bazza @ Abbey Road, Bazza @ Tape One, Bazza @ Porky’s putting in an appearance throughout the years.

Yet Barry Grint has witnessed a lot of industry changes — technological or otherwise — in a celebrated career spanning five distinctive decades. Given his mastering pedigree, perhaps it was inevitable that he would one day become a master of his own destiny at Alchemy Mastering in Soho, which went on to become one of the UK’s foremost mastering facilities before leasing issues at its ‘high-flying’ Centre Point office tower London location left its founder rethinking and, ultimately, relocating somewhat closer to terra firma. Its current location in an elegant West London mews houses three acoustically-tuned studios with natural daylight designed by the three ‘Alchemists’ — Barry Grint and fellow Directors Matt Colton and Phil Kinrade — themselves, each equipped with full-range monitoring systems and a wide range of vintage and cutting-edge high-end analogue and digital hardware and software processors, perfect for pursuing their sought-after craft. “We all react to what’s coming out of the speakers, and we make our judgements based on how that sounds in the room,” Matt Colton claimed, soon after receiving the coveted Music Producers Guild Mastering Engineer of the Year award in 2013.

As a full member, Barry Grint is no stranger to the MPG (Music Producers Guild) himself, representing them when working with the EBU (European Broadcasting Union) to create a standard for embedding the ISRC (International Standard Recording Code) within BWF (Broadcast Wave Format) audio, adopted by the main manufacturers of mastering software internationally. But back in the mastering hot seat within Mastering Two — Barry Grint’s mastering studio for digital, CD, and vinyl mastering at Alchemy Mastering — things get more personal. “The choice of equipment is a very personal thing,” its owner-occupier opines. “I was very happy with my monitor speakers, but they seemed to lack bass extension; Matt Colton has active ATC SCM150 ASL PROs in his room, so I thought that an ATC amp might give me more bass.”

Cue delivery of a P2 PRO Dual Mono Power Amplifier — a true dual mono design delivering 300W of continuous power simultaneously from both channels to drive the most challenging loudspeaker loads with ATC’s signature virtues of wide bandwidth and ultra-low distortion — on trial. The result? “The bass extension was great, but there was also a noticeable improvement overall — a smoothness that gave improved detail and clarity,” continues the seriously impressed Barry Grint. “The difference wasn’t subtle with the P2 PRO. I called Ben Lilly, Technical Sales Manager at ATC, and told him he couldn’t have the demo unit back until he had sent me the one I bought!”

Beneficiaries of this latest acquisition already encompasses a lengthening list of current and established artists alike, as Barry Grint reveals: “Remastering Jeff Wayne’s War Of The Worlds, The Stranglers, Declan McKenna, Tom Odell, Sean Paul, Roger Waters; vinyl mastering for All Tvvins, Gorillaz, Laura Mvula, Little Mix, Radiohead, Rag’n’Bone Man, The Libertines, The Rolling Stones…”

So, yes, Barry Grint has witnessed a lot of industry changes in a celebrated career spanning five distinctive decades — not least the putative passing of vinyl into the annals of reproductive audio history only for it to triumphantly return relatively recently, as evidenced by Alchemy Mastering making a name for itself as one of the world’s leading lights in half-speed and pure analogue vinyl mastering: “When I started, people recorded in recording studios and mobile studios were big articulated lorries loaded with massive Neve, Cadac, or Trident desks and multitrack tape machines. Today, digital recording has made available amazing recording spaces. Sometimes this means that for some projects the mastering room is the only controlled listening environment, one where a good speaker/amp combination is vital. This is why we went with ATC.”

The British-built P2 PRO Dual Mono Power Amplifier carries a UK RRP of £2,833.00 GBP (plus VAT). For more in-depth info, please visit the dedicated product webpage here: http://atcloudspeakers.co.uk/professional/electronics/power/p2-pro/

For availability and pricing internationally, please visit the ATC website to find a distributor for your region here:
http://www.atcloudspeakers.co.uk/where-to-buy/

For availability, and pricing in the United States, please contact Brad Lunde at Transaudio Group here:
http://www.transaudiogroup.com
About ATC (www.atcloudspeakers.co.uk/professional)
ATC (Acoustic Transducer Company) is a specialist British manufacturer of loudspeaker drive units and complete sound reproduction systems, including all associated electronic equipment. All such systems and components are designed and built in-house to achieve levels of performance far in excess of the industry norm by adopting a thoroughly professional engineering approach to the issues of basic design, materials science, and production technology. Formed in 1974 to manufacture custom drive units for the professional sound industry, ATC’s groundbreaking ‘Soft Dome’ mid driver technology was originally developed in 1976 and is still featured in the company’s current SCM25A Pro, SCM45A Pro, SCM50ASL Pro, SCM100ASL Pro, SCM110ASL Pro, SCM150ASL Pro, SCM200ASL Pro, and top-of-the-range SCM300ASL Pro three-way active professional series loudspeakers. Constantly improved, it is still unique in innovation, and remains the only midrange device capable of delivering ultimate performance; flatteringly, it has been widely copied — without success. Similarly, the ‘Super Linear’ technology found in ATC’s professional series bass drive units is equally unique — not only in its ability to accurately reproduce piano, but also the precise manner in which male voices are articulated. All drive units in ATC active professional monitors are powered by their own ATC-designed amplifier, optimised for the relevant bandwidth, and all amplifiers — working substantially in Class A — feature even-order-filtered active crossovers that are individually aligned and phase-corrected to ensure unmatched stereo imaging.
© 2017 ATC Loudspeaker Technology Ltd

Wednesday, 1 November 2017

Audified announces availability of software/hardware hybrid digital/analogue SYNERGY R1 reverb for 500-series

“SYNERGY R1 is a great idea… we’ve all got lazy using plug-ins for instant session recall, so to be able to get the quality of hardware with that convenience has got to be a good thing.” - George Shilling, record producer/recording engineer/mastering engineer/musician/composer (Mary J. Blige, Porcupine Tree, Steve Winwood), 2017


Host application and audio effects developer Audified is proud to announce availability of SYNERGY R1 — representing its first foray into hardware with a ‘remote-controlled’ software/hardware hybrid digital (REVERB)/analogue (SATURATOR) processing module for the 500-series modular rack frame format popularised by API (Automated Processes, Inc.) .

Imagine a studio reverb with seven types of algorithms in synergy with three kinds of true analogue saturation, remotely-controlled from within a DAW (Digital Audio Workstation) with an outstanding sound and world-class user interface. Imagine no more! Making room (in a 500-series lunchbox) for Audified’s SYNERGY R1 is making room for a studio reverb for a new era, enabling all of that… and more.
Modern-day producers tend to shy away from audio hardware effects in this day and age. Why? Well, the luxury of recalling such sessions like yesteryear’s production pros is a time-consuming process and shrinking production budgets dictate that today’s time-stressed producers often take to sacrificing CPU (Central Processing Unit) power for plug-in processing convenience. Conceptually — and in reality, as a ‘remote-controlled’ software/hardware hybrid digital (REVERB)/analogue (SATURATOR) processing module for the 500-series modular rack frame format popularised by API, SYNERGY R1 is an altogether different production proposition, one that effectively turns modern-day production preconceptions on their head. How? How about the fact that users can control the device directly from their DAW, automate it, and store session settings, courtesy of its easily accessible, front facia-positioned USB (Universal Serial Bus) connection. And that’s just for starters.

Seriously designed and sturdily built in the Czech Republic, beating at SYNERGY R1’s hardware heart are two switchable sections. REVERB is digital, providing premium-quality 24-bit A/D (analogue-to-digital) and D/A (digital-to-analogue) convertors, 32-bit floating point DSP (Digital Signal Processing) and true BYPASS functionality; all told, there are seven selectable reverb algorithms (simulating several different types of spatial acoustics), ranging from Room all the way up to Tunnel, and users can control four front panel-accessible parameters: DECAY, PREDELAY, COLOR, and TYPE. The second — true analogue — SATURATOR section features three switchable saturation circuits with GE (Germanium), OA (OpAmp), and JF (J-FET) types (that add harmonics to the signal) and a GAIN control. (Centrally positioned, a distinctive display is packed with Light Emitting Diodes to assist with parameter editing visually via numeric and bar indication of values — LEDs for the edited parameter change colour to yellow and the value is visible in the numeric part of the display while other parameter LEDs remain green; when editing is finished, the display returns to the default view — numeric area displaying preset number and all value indicators in green… or red if the parameter is switched off.) Both sections include wet/dry MIX controls, so SYNERGY R1 can be used as a 100% digital reverb or a 100% analogue saturator (and anything between those two worlds).
What truly sets SYNERGY R1 apart from the run-of-the-mill 500-series pack, however, is that each and every one of its functions can be remote controlled via the included Synergy R1 Control plug-in that can be used from within all major DAW host applications on Mac and Windows (with AAX, AU, VST2, and VST3 support). Hardware parameters can be fully automated and are saved within projects. The plug-in supports multi-instance usage, so several plug-ins could be assigned to one hardware unit. Also included is a standalone Synergy R1 Control application, allowing for independent control of SYNERGY R1 via MacOS (10.9.5 and above) or Windows (7 and above). Production pros of old school-style thinking, of course, can still get hands-on with the hardy hardware itself… if they wish to do so!

So who better to sing SYNERGY R1’s praises than the talented individual behind its innovative design? “I’m a reverb guy,” gushes well-known Czech composer/producer Boris Carloff, before adding: “I own 11 hardware reverb units in my studio, including an EMT 251, Bricasti M7, and AKG BX25 spring reverb — all classics, but I always dreamt of having something with the mellowness of old plate reverbs like the EMT 140. The analogue saturation of overdriving circuitry made their sound so lush, three-dimensional, and significant that I think I prefer them to any of the classic digital reverbs. On the flipside of the coin, I love the versatility of digital’s different algorithms. And, of course, I also like simple DAW control. So something with the best of both the analogue and digital worlds, with all their wonderful possibilities combined, seemed like a good solution to me, which was the thinking behind SYNERGY R1.”

Watch Audified’s informative introductory SYNERGY R1 video here:
 

For all its (breakthrough) bells and (wondrous) whistles, what SYNERGY R1 really boils down to is its sound. “New high-end algorithms with real analogue saturation makes for an unbelievably lush- and nice-sounding reverb, but there is also an option to use clean digital reverb,” its creator continues. “With real bypass of the digital reverb it is also possible to apply three different types of parallel analogue saturation to your mix.”

An amazing mix of technologies, then, perfectly packaged into a stereo audio processing module powered by a 500-series lunchbox, but boasting DAW control, carefully tuned reverb algorithms, and the satisfying sound of real analogue circuitry. Concludes Carloff: “SYNERGY R1 is something new that sounds superb; I believe it’s a must-have processor for every studio — project or commercial.”

Clearly, George Shilling — owner of the commercial, Cotswolds, UK-based Bank Cottage Studio — couldn’t agree more; maintains the multi-platinum, award-winning record producer, recording engineer, mastering engineer, musician, composer, journalist, and music tech teacher: “SYNERGY R1 is a great idea… we’ve all got lazy using plug-ins for instant session recall, so to be able to get the quality of hardware with that convenience has got to be a good thing.” 

Having been accepted into API Audio’s VPR Alliance (http://apiaudio.com/vpr_alliance.php) — a program of standardisation and consistency guidelines for approved manufacturers wishing to design products for API’s 500-series rack format, SYNERGY R1 is available for purchase through Audified’s growing global network of distribution partners at an MSRP of $1,399.00 USD. (Audified are offering free shipping on orders placed before the end of November 2017.)

For more in-depth information, please visit the dedicated SYNERGY R1 webpage here: http://synergy.audified.com

Synergy R1 Control can be directly downloaded as a multi-format (AAX, AU, VST2, VST3) plug-in and standalone application for MacOS (10.9.5 and above) and Windows (7 and above) from Audified here: https://services.audified.com/download 

About Audified (www.audified.com)
Audified is the premier brand of privately-owned Boskovice-based DISK Multimedia, s.r.o. in the Czech Republic, created to develop specialised audio applications, as well as handling the company’s high-end hardware product portfolio. Pioneering the development of audio applications for live (realtime) performance, as well as developing the first audio effects plug-ins for Apple’s Mac OS X, the company created some of the first plug-ins for Power|Core, TC Electronic’s hardware-accelerated DSP platform, prompting the Danish developer’s then-PR Manager Thomas Valter to comment, “Our two companies have been working closely together on various projects, and we are very satisfied with the products that have been a result of our cooperation.” Consequently, the company returned to its host application and audio effects developmental roots in 2007 by branding itself with the Audiffex appellation to resourcefully reflect that directional change with an award-winning array of innovations, including MixChecker — a must-have mixing assistant plug-in that transforms studio monitors into classic reference monitors or one of several consumer devices to instantly improve mixes. Moreover, Audified is not just a for-profit business, however; its parental company clearly cares about the future of audio software/hardware development, developing partnerships with both Janacek Academy of Music and Performing Arts (JAMU) in Brno, Czech Republic — realising a research project to bring modern audio engineering technologies to music education, and also Brno University of Technology, one of the Czech Republic’s leading research and teaching institutions — working with the Faculty of Electrical Engineering and Communication Technologies on scientific projects. Participating in organising entry exams and teaching at these highly-respected higher education establishments has helped establish the first specialised studies of audio engineering in the Czech Republic. In keeping with spreading the (audio engineering) word, Audified has helpfully seen fit to recently release a range of free plug-ins, available from here: http://shop.audified.com/collections/products/free#tags © 2017 Audified

Antelope Audio announces availability of desktop DISCRETE 4 console-grade microphone preamp interface

High-end professional audio equipment manufacturer Antelope Audio is proud to announce availability of its desktop DISCRETE 4 Thunderbolt™ & USB Interface with 4 Discrete Mic Preamps — perfect for solo musicians as well as smaller project studios and bedroom-based home recordists/producers alike, courtesy of four console-grade six-transistor discrete microphone preamps; 121 dB dynamic range conversion; and rock-solid, fourth-generation 64-bit AFC (Acoustically Focused Clocking) technology, together with Antelope Audio’s acclaimed Real-time FPGA FX, modelling iconic gear from BAE, Grove Hill, Graf Audio, Lang, and more (for use in the EasyPanel software or any DAW directly, thanks to Antelope Audio’s all-new AFX2DAW plug-in).
DISCRETE 4 was developed after Antelope Audio undertook extensive research into illustrious microphone preamp circuitry, applying its famed FPGA (Field Programmable Gate Array) engine effectively to transform its already big-budget-sounding Accusonic preamps into several classic models. Moreover, this takes place in real-time with an authentic response that truly sets it apart. Although DISCRETE 4 was designed to work with any microphone, it really shines when working with Antelope Audio’s new EDGE and VERGE modelling microphones that were recently announced alongside its bigger brother, the DISCRETE 8 Thunderbolt™ & USB Interface with 8 Discrete Mic Preamps — hardly surprising since those modelling microphones were designed to exclusively match the discrete preamp architecture of the audio interfaces in question.
Unquestionable sonic supremacy apart, as is the case with its far-reaching range of relatively recently released professional audio interfaces, Antelope Audio’s acclaimed real-time FPGA platform puts an authentic vintage sound into discerning DISCRETE 4 users’ hands; however, this has now been extended to create a complete professional studio experience like no other. Microphones, preamps, conversion, compressors, EQ, and reverb are all accessible with ease, either from within DISCRETE 4’s EasyPanel software or via any DAW (Digital Audio Workstation) with workflow that just… well, works — thanks to Antelope Audio’s all-new AFX2DAW plug-in. Perform and record either with effects already applied or add processing in post-production.

Like all things Antelope Audio, DISCRETE 4 is a rock-solid clocking solution in itself. It comes complete with cutting-edge, fourth-generation 64-bit AFC technology that is already familiar from several celebrated classics of Antelope Audio’s own making, such as ISOCHRONE TRINITY, the best sounding and most versatile master clock available anywhere; the OCX HD 768 kHz HD master clock; and Pure2, a mastering-grade 24-bit/192kHz AD/DA two-channel converter and master clock. Creatively, two WC OUT (Word Clock output) connections allow DISCRETE 4 users to distribute the clock signal to other digital equipment.

Watch Antelope Audio’s informative introductory DISCRETE 4 video here

When working with DISCRETE 4, monitoring and talkback features are both super-flexible and a breeze to set up. Ultimately, users can create up to four individual monitoring mixes and send them to headphones or MONITOR outputs with (or without) whatever FPGA FX they might have stacked, so any artist being recorded can experience the convincing sounds of vintage EQ, compression, and authentic guitar amp emulations that are as close to the final product as possible.

Remote control comes easily to DISCRETE 4 — access all areas (including adjusting all microphone input levels as well as full control over all talkback levels, monitoring, and headphone volumes) via its intuitive EasyPanel software or download the free iOS and Android mobile apps. As such, musicians can comfortably control their own headphone volume through their smartphones.

So if that’s not enough to convince, consider this: DISCRETE 4 can even save and load presets and exchange settings with Antelope Audio’s full lineup of FPGA-equipped professional audio interfaces, making it a no-brainer for both new users and existing owners using a second rig for touring or travel by allowing them to leave their current studio setup untouched when on the road or engaging in session work outside their own facility — free to roam, recording whatever and whenever with the desktop DISCRETE 4 Thunderbolt™ & USB Interface with 4 Discrete Mic Preamps. Perfectly paired with those EDGE and VERGE modelling microphones, it's a beautiful combination!

The DISCRETE 4 Thunderbolt™ & USB Interface with 4 Discrete Mic Preamps (plus EDGE and VERGE modelling microphones) will soon be available via Antelope Audio’s growing global network of dealers. As of November 1, 2017, Antelope Audio itself is accepting preorders on the following bundles: DISCRETE 4 with Basic FX collection (€899.00 EUR); DISCRETE 4 with Premium FX collection (€1,399.00 EUR); DISCRETE 4 with Premium FX collection and 1x EDGE modelling microphone (€1,995.00 EUR).

For more in-depth information, please visit the dedicated DISCRETE 4 webpage here: http://en.antelopeaudio.com/products/discrete-4/

For more in-depth info, please visit the dedicated DISCRETE 4 bundle webpage here: http://en.antelopeaudio.com/products/discrete-4-edge-bundle/

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.
© 2017 Antelope Audio

Sunday, 29 October 2017

Spitfire Audio makes musical tidal waves with Bleeding Fingers for BBC flagship series-supporting orchestral library


Spitfire Audio is proud to announce availability of ORCHESTRAL SWARM — setting a new standard in orchestral library innovation through taking the company’s so-called ‘Swarm’ approach (as an alternative to just using straightforward long notes by drawing upon the pointillistic effect of having multiple players perform short notes at random intervals to create an undulating swell of sound that can be performed in realtime) and adapting it to the orchestra to enable even greater detail by utilising the huge variety of articulations and playing styles of orchestral instruments.
ORCHESTRAL SWARM is the direct result of a creative collaboration with Bleeding Fingers (Sons Of Liberty, Roman Empire: Reign Of Blood), a next-generation composer collective for productions that are sonically brave, who wanted to create a new Swarm library in pursuit of composing a perfect soundtrack to the oceanic goings-on featured on the groundbreaking BBC Blue Planet II natural history television series.

Spitfire Audio was well versed in this approach already having harvested this technique when working on its previous HARP SWARM, MANDOLIN SWARM, and MARIMBA SWARM libraries, and this opportunity to work with Bleeding Fingers pushed the company towards a new territory — to utilise the power of Swarm. Spitfire Audio speedily and secretly delivered an initial library for the team at Bleeding fingers to use exclusively for the BBC’s Blue Planet II. It even ended up in its high-profile launch trailer theme, ‘(ocean) bloom’, an orchestrally reimagined version of Brit art rockers Radiohead’s ‘bloom’ in collaboration with Hollywood hotshot Hans Zimmer. Pushing the creative concept further still, Spitfire Audio later returned to the studio to capture even more material with the orchestra, including short notes and expanded techniques and layers, to create the most complete toolset for media composers.
Watch Spitfire Audio Director Paul Thomson’s ‘traditional’
ORCHESTRAL SWARM video walkthrough
 
Clearly, the same no-expense-spared approach was applied to these sessions as any other Spitfire Audio library, this time at one of the most highly-maintained and well-stocked studios on the planet. Founded by British singer-songwriter, guitarist, record producer and film score composer Mark Knopfler, British Grove is one of few large-scale studios to have been built in the new millennium, and its unique vision of combining state-of-the-art technology alongside legendary vintage equipment — it owns two original and fully-restored EMI mixing consoles used by Sir George Martin and The Beatles, for instance, it is perfectly poised to leave behind a legacy of note.
Watch Spitfire Audio Director Paul Thomson’s
ORCHESTRAL SWARM presentation video

Notably, the signal path on the day featured Studio 1’s Neve 88R large-format analogue mixing console, utilising both its onboard pres, as well as D.A.V. electronics Broadhurst Gardens pres for room mics, and the vintage EMI TG12345 console’s pres for some of the mid room mics. Manufacturers of the transducers used include Royer, Ela M, Neumann, and Coles. Creatively, the recording stage at British Grove is a medium-sized, semi-reverberant room, allowing for precise detail, yet with enough energy to maintain character and fullness.

Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s
ORCHESTRAL SWARM ‘In Action’ video
The resultant ORCHESTRAL SWARM library comprises various string, brass, and woodwind ensembles, recorded individually and with the Swarm pointillistic approach, using techniques most idiomatic for those instruments. Moreover, many of these sounds have never been sampled before. Bassoon ‘pops’ to horn ‘flutter tongues’ and much more besides, a wide range of techniques were combined via the Swarm approach to give a vastly increased sound palette to the traditional orchestra. Indeed, included individual ensemble shorts also further extend creative options by allowing users to add a rhythmic element to their work, while the provision of two onboard reverbs — a tight ‘stage’ sound and a longer, more lush ‘hall’ sound — makes blending the Swarms with existing orchestral libraries a breeze.
Watch Spitfire Audio’s persuasive promo video for ORCHESTRAL SWARM
But best of all, an ocean of variety awaits anyone diving deep into ORCHESTRAL SWARM. So if you’ve tired of static-sounding longs, or have fallen out of love with short ostinatos, this new textural approach to orchestral sampling will add life and sparkle to any arrangement. Join the pioneers of modern concert music and scoring to explore a new league of orchestral composition… and ride a tidal wave of inspiration with Spitfire Audio!


ORCHESTRAL SWARM can be purchased and digitally downloaded (as 50.1 GB of uncompressed .WAV files, featuring 25,565 samples) for a time-limited introductory promo price of £159.00 GBP (inc. VAT)/$199.00 USD/€199.00 EUR (inc. VAT) until November 16, 2017 — rising thereafter to an MSRP of £199.00 GBP (inc. VAT)/$249.00 USD/€249.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/orchestral-swarm/
Note that ORCHESTRAL SWARM needs Native Instruments’ free KONTAKT PLAYER (5.6.8) — included in the purchase — to run as a fully NKS™ (NATIVE KONTROL STANDARD) supporting plug-in instrument for 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), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.
For more in-depth information, including several superb-sounding audio demos, please visit the dedicated ORCHESTRAL SWARM webpage here:

About Spitfire Audio (www.spitfireaudio.com)
Spitfire Audio is a British music technology company producing high-quality virtual instruments and sample libraries. The company collaborates with the world’s best composers, producers, engineers, and studios to create detailed and realistic recordings of instruments and sounds for use in computer-based music production. Prominent collaborators include Hans Zimmer, Air Studios, Eric Whitacre, and many more.
© 2017 Spitfire Audio Holdings Limited

Thursday, 26 October 2017

Plugin Alliance announces availability of Unfiltered Audio’s modern twist on compression/expansion

“I’m really digging Unfiltered Audio’s latest plugin, Zip. It’s a great dynamics processor in its own right, but it really shines as a unique creative tool when you start to add its analysis, saturation, and modulation options to the mix.” -  Charles Stella, GRAMMY® Award-nominated composer/producer/engineer (MTV, 2K Games, Nora Jones, Jarobi/A Tribe Called Quest, Issa Rae), 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 Zip — further cementing Californian coding masterminds Unfiltered Audio’s Plugin Alliance partnership with a powerful, unconventional plugin that bravely breaks the compressor/expander mold to solve difficult dynamics challenges and create unique effects using ingenious Analysis modes and synth-like modulators .

As a truly trailblazing processor, Zip uses novel Analysis modes to easily remedy complex dynamics challenges that traditional compressors and expanders are inadequate to treat. Additionally, an abundant assemblage of modulators — freely patchable to most of Zip’s other controls — creates striking effects impossible to achieve using conventional dynamics processors.

Perfectly executed, Zip’s six Analysis modes — Amplitude, Quietness, Brightness, Darkness, Noisiness, and Tonalness — spark deeper compression or expansion based on signal level, frequency content, or noise feeding its Input. Indeed, Noisiness mode can, for example, be used to compress overdriven electric guitar chords while leaving cleaner-sounding phrases on the same track untouched. Darkness mode, meanwhile, makes Zip compress lower-pitched notes on a track more heavily than higher-pitched ones — excellent for taming headroom-robbing low notes on a bass guitar, while Brightness mode does the exact opposite — reining in high-pitched vocal choruses, for instance. Amplitude and Quietness modes respectively trigger processing with louder or softer input signals, while Tonalness mode reacts more strongly to signals containing stable frequencies. Taken together, Zip’s Analysis modes empower its sidechain detector to react selectively to a much broader range of variables than traditional dynamics processors are capable of, greatly improving its ability to tame the most challenging tracks. And when an external sidechain input is needed, Zip has that, too.

Zip’s four Envelope Styles — Classic, Goopy, Quick, and Extreme — modify the processor’s attack and release curves, tailoring them to the engineer’s specific needs. The Extreme style’s lightning-fast response is great for aggressive processing, such as crushing room mics for drums. The compressor’s Classic style and multimode sidechain filters can be used to enhance low-end punch and weight on mixes and masters. Goopy adds vintage glue to individual tracks and full mixes alike. All Envelope Styles can use Peak or RMS (Root Mean Square) detection, with or without Lookahead detection, along with manual settings for Attack and Release controls that further refine Zip’s response. Together, these controls give Zip an extremely wide range of flavors — all dialed in to perfection using the included wet/dry Mix control.

Watch Plugin Alliance’s tantalizing trailer for Zip here:

Creatively, it’s Unfiltered Audio’s flagship automatable modulation system that takes Zip into an entirely new realm for compressors and expanders. Its eight different internal modulators, as well as a patch to an external ROLI Lightpad controller, can be used — up to six modulators at once — on most of Zip’s controls. Each modulator can be routed to multiple destinations using simple drag-and-drop technique, unlocking a world of driving rhythmic effects synchronized to the tempo of the host DAW (Digital Audio Workstation). Routing the square wave LFO (Low Frequency Oscillator) to the expander’s Threshold control creates a pulsing gate, transforming a static synth pad into a dynamic staccato dance groove. Patching the sawtooth LFO to the compressor’s Ratio knob creates a big room EDM-style ducking effect synchronized to the song’s beat. Other internal modulators include sinewave LFO, Step Sequencer, Input Follower, Macro Control, Sample and Hold Noise, and a new Gain Reduction control that responds inversely to compression.

Zip shapes tone, too. Its continuously variable Color control provides post-dynamics processing in seven modes, respectively offering phase-modulated distortion, soft saturation, bitcrushing, and four 2-pole cutoff filters (two of which feature cutoffs modulated by Zip’s Analysis modes). Used without Zip’s modulators, the Color modes can be used to fatten up vocals, make drums pop and create dramatic swings in timbre on keyboard tracks with each note attack. When patched to Zip’s LFOs, the Color knob becomes a gateway to tempo-synched filter sweeps and pulsating distortion that make guitar and keyboard tracks come alive.

Whether using its inventive Analysis modes and versatile Envelope Styles to compress or expand tracks in new ways, or its state-of-the-art modulation system to create driving tempo-synched effects, Zip delivers a world of dynamics and tone shaping far beyond the ordinary. It’s a forgone conclusion. Calling Zip a compressor is like calling a Lamborghini a passenger car. It does neither one justice. Zip creates unique effects and solves thorny audio challenges in a flash, leaving traditional compressors in the dust! Dig it? GRAMMY® Award-nominated composer/producer/engineer Charles Stella sure does!


Zip is available for purchase — as an AAX AudioSuite, 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) — exclusively from Plugin Alliance at an introductory promo price of $99.00 USD through to November 30, 2017, rising to $149.00 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 Zip webpage here: https://www.plugin-alliance.com/en/products/unfiltered_audio_zip.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)
Innovative Southern Californian music software company Unfiltered Audio formed when three enterprising young men came together earlier this decade while earning graduate degrees from the University of California, Santa Barbara. Joshua Dickinson, Michael Hetrick, and Ryan Michael McGee all share backgrounds in fields where engineering and programming meet music and multimedia. Now with Unfiltered Audio, their academic pursuit of new ways to process audio merges with their entrepreneurial goal of making uniquely creative tools for musicians and producers.
© 2017 Plugin Alliance LLC

Wednesday, 25 October 2017

Embertone establishes The William Arnold Collection series sampled VIs with world wind instrumentalist’s Shān Bawu


Virtual instrument sampling company Embertone is proud to announce availability of Shān Bawu — introducing its collaboration with world flutist William Arnold recorded playing the Bawu, a flute-shaped free reed instrument with a pure clarinet-like timbre that (most likely) originated in the Yunnan province of southwest China, creating the first in The William Arnold Collection namesake series of wind instruments, intensely sampled and superlatively scripted as a simple, inspiring, and highly-playable virtual instrument for Native Instruments’ industry-standard KONTAKT platform.
While it is shaped like a flute, the Bawu is a free reed instrument. It has a pure clarinet-like timbre, and players often incorporate the use of ornamentation — bending tones in particular. It is most likely that the Bawu originated in the Yunnan province of southwest China, but it has since become a standard instrument throughout. It is typically featured as a solo instrument in modern Chinese compositions for traditional ensembles and film scores alike. Although the Bawu is still predominantly performed in China, it has been embraced by many European composers and performers in recent years.

 Watch Embertone Composer | Virtual Instrument Developer
Alex Davis’ video walkthrough of Shān Bawu here:

Yet now — thanks to Embertone’s collaboration with world flutist, vocalists, and session musician extraordinaire William Arnold on The William Arnold Collection namesake series debut virtual wind instrument, Shān Bawu — many more performers and composers can acquaint themselves and their music with a highly-expressive virtual instrument, featuring multiple transition styles, such as slur, slide, ornamental, and MICROPHRASE. Moreover, Shān Bawu is Embertone’s first virtual instrument incorporating the trailblazing latter transition technology — four variations of beautiful, elaborate phrases created by William Arnold himself. Indeed, it is features like this that transport Shān Bawu to a whole new level of realism and colour as a simple, inspiring, and highly-playable virtual instrument… right out of the box!

Built from the ground up with William’s musical approach perfected — performances and articulations to match his unique and beautiful style, together with lots of helpful configuration settings to match the user’s playing style — such as using the mod wheel for vibrato and an expression pedal for dynamics, Shān Bawu’s beautiful combination is sure to appeal to those seeking to take an unforgettable musical journey into the wonderful world of traditional Chinese wind instrumentation — including an ability to assign a CC2 breath controller for added realism when playing.

Shān Bawu is available to purchase and digitally download as a fully NKS™ (NATIVE KONTROL STANDARD) supporting KONTAKT 5.4.1+ 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 $30.00 USD. (Note Native Instruments’ KONTAKT full version is needed to use Shān Bawu.)

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated Shān Bawu webpage here:
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.
© 2017 Embertone

Wednesday, 18 October 2017

NUGEN Audio announces advanced updates for ISL 2st and Halo Upmix at AES New York 2017

Innovative, intuitive professional audio tools creator for high-end music producers, post-production engineers, and broadcasters NUGEN Audio is proud to announce a dither update for ISL 2st — its intelligent look-ahead brick-wall limiter that provides highly-transparent true-peak limiting for all stereo and mono content — alongside a preview of a 3D Immersive Extension update allowing second and third order Ambisonic (AmbiX format) output for Halo Upmix — for fine-tuning surround mixes to perfection — at AES New York 2017, October 18-20, Jacob J. Javits Convention Center, USA.


As a stereo-only version of NUGEN Audio’s acclaimed ISL 2 — a transparent look-ahead limiter designed to allow users to get on with creative audio production while it takes care of true-peak compliance, ISL 2st allows for content creation fully compatible with loudness normalisation standards used by the likes of iTunes Radio and Spotify — superb sound with complete confidence about meeting the new standards for online delivery, in other words. World-class, broadcast-quality limiting is an essential requirement for any audio production, after all, and ISL 2st duly delivers. Risk of distortion from downstream codec conversion (mp3, AAC, etc) is effectively eliminated with ISL 2st on the master bus, so no need to second-guess sample-peak limiting time and again, or deliberately increase headroom to avoid a downstream problem. Just dial in the true-peak limit and let ISL 2st take care of the rest!
 
By including a unique power-compensated true-peak safe dither algorithm in its latest update, NUGEN Audio has improved ISL 2st further still. Several forms of dither are available, enabling the minimisation of quantisation errors and artefacts from bit depth reduction processes. Now ISL 2st automatically compensates for the dither applied, ensuring that TPMax (maximum true-peak level) is preserved and that true-peak compliance violations are not accidentally introduced in the final output stage, as might potentially be the case when engaging traditional post-TPMax dither functions — particularly pertinent to content repurposed for streaming services, where data compression algorithms are pervasive.

Pairing ISL 2st with the latest version of NUGEN Audio’s award-winning MasterCheck Pro is a perfect combination. Recently released, v1.4 of MasterCheck Pro places FLAC (Free Lossless Audio Codec) and Opus encoding flavours in its indispensable 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. So content can be readied for these platforms with MasterCheck Pro before being finished with ISL 2st to ensure it reaches the listener as intended.
Intriguingly, NUGEN Audio also continues to pioneer the immersive audio field with its award-winning Halo Upmix for fine-tuning surround mixes to perfection — perfect for all types of production from archive restoration and TV through to the full 7.1 feature film experience — by announcing a further update to its 3D Immersive Extension, an enhanced upmix algorithm allowing for simultaneous use of all the original features including dialogue isolation and individual channel output control alongside additional vertical controls via an expanded user interface with control over Ltm and Rtm channel placement for Dolby Atmos-compatible placement. Having launched first order Ambisonic output in July — Ambisonics being a full-sphere surround sound technique covering sound sources above and below the listener in addition to the horizontal plane, the latest 3D Immersive Extension update now allows second and third order Ambisonic output, and both 7.1.4 and 5.1.4 channel configurations to facilitate production in Auro-3D formats — a three-dimensional standard used across several industries, including cinema and gaming audio. As such, VR (Virtual Reality), Facebook 360, and sound design are also all fair game for any adventurous audio engineers seeking enlightenment in immersive audio.
“Immersive audio is becoming a rare conceptual game changer that has the potential to redefine how we create and enjoy sound,” says NUGEN Audio Creative Director Jon Schorah. “These updates make sure that Halo Upmix stays on the cutting edge as engineers seek new tools and workflows to fully exploit this exciting and rapidly developing technology.”

NUGEN Audio are showcasing these latest ISL 2st and Halo Upmix advancements on Booth #5041 at AES New York 2017 — the 143rd International Convention — on October 18-20, Jacob J. Javits Convention Center, USA. Upmixing and true-peak compliance… it’s all there for the taking, whether fine-tuning surround mixes or repurposing content for streaming services.

The latest version of ISL 2st is available to purchase as a 32- and 64-bit-supporting AAX-, AU-, AudioSuite-, VST-, and VST3-compatible plug-in — alongside a 32-bit only RTAS version — for Mac (OS X 10.7 and above) and Windows (Vista and above) directly from NUGEN Audio for £99.00 GBP/$149.00 USD/€119.00 Euro (excluding VAT). ISL 2st DSP is available to take full advantage of Avid's HDX hardware (including AAX DSP for HDX and Venue systems) for £159.00 GBP/$249.00 USD/€199.00 Euro (excluding VAT).

For more in-depth information, please visit the dedicated ISL 2st webpage here:
https://www.nugenaudio.com/islst-true-peak-tp-limiter-loudness-compatible-plugin-aax-au-vst_55

Halo Upmix with 3D Immersive Extension requires a surround-compatible plug-in host and is available to purchase in AAX, AU, and VST formats directly from NUGEN Audio for £459.00 GBP/$699.00 USD/€549.00 Euro (excluding VAT). The updated version, including second and third order Ambisonic output and Auro-3D support will be available in November 2017.

For more in-depth information, please visit the dedicated Halo Upmix webpage here:
https://www.nugenaudio.com/halo-upmix-stereo-to-5-1-and-7-1-upmix-plugin-aax-au-vst_52


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.

© 2017 NUGEN Audio Ltd