Thursday, 18 July 2019

Strymon shifts stereo multi-head delay focus to pedalboards with Volante Magnetic Echo Machine marvel



Literally following in the footsteps of its first foray into the Eurorack small-format modular market with its Magneto Four Head dTape Echo & Looper module, shipping soon after a successful showcase at The 2018 NAMM Show in Anaheim, CA, powerful processing effects developer Strymon is proud to announce its Volante Magnetic Echo Machine followup — focusing its innovative design on radically enhancing the sonic expressiveness of pedalboards as a stereo multi-head delay that also offers a looper and vintage spring reverb, with powerful sound-sculpting controls for limitless sonic possibilities.
As implied by the Magnetic Echo Machine legend boldly blazoned across an attractive, rugged, road-ready, yet functional front facia that should feel familiar to owners of Strymon’s similar-sized effect pedals such as the award-winning BigSky (multidimensional reverb) or TimeLine (multidimensional delay) — or, for that matter, its inspirational Magneto Four Head dTape Echo & Looper module with which it shares some controls and design DNA, Volante features magnetic drum, tape, and (reel-to-reel) studio echo as a stereo multi-head delay that also offers a looper and vintage reverb. Reality dictated that Strymon relentlessly studied and faithfully recreated every last magnetic delay system attribute to capture the nuance and complexity of classic tape and drum echo machines — from sought-after natural saturation and soft clipping of magnetic media when driven hard to hands-on, real-time controls for MECHANICS, WEAR, SPACING, and LOW CUT, Volante instantly adds tons of vibe to any user’s sound.
Situated at the center of Volante’s control surface are four delay playback heads with individual playback and feedback controls — each head’s playback level can be set for full volume, half volume, or off, and each head can be switched in or out of the feedback circuit. Creatively, users can even switch heads into the feedback circuit that are not activated for playback, putting the creation of complex rhythmic patterns, as well as reverb-like atmospheric textures, at anyone’s fingertips.

Fortunately for fearless users, Volante not only delivers the warm, luscious delay signals that magnetic tape machines are known for, it is also capable of a high degree of saturation — simply turn up the REC LEVEL knob to increase the gain of Volante’s analog class-A JFET input preamp circuit, sending a hot signal with analog warmth to the record head for facilitating any amount of saturation.

Some classic tape echo machines included small integrated spring reverb tanks tuned to limited bandwidth. Strymon skilfully captured this vintage vibe for Volante by creating a spring reverb with a gorgeous, gentle character that stands up to scrutiny on its own while also enhancing delayed signals.
Some vintage multi-head tape echo machines’ heads were not evenly spaced, which created interesting sonic interactions when multiple heads were set to repeat. Volante far from disappoints on that score; spacing is continuously variable for the entire travel of the SPACING knob, morphing between the available even, triplet, golden, and silver settings — the latter two ratios respectively realising dense, non-overlapping echoes and non-overlapping echoes biased toward the quarter note.

Needless to say, Volante also allows users to set the pan of each head individually for spacious, multi-head stereo delays. By default, all heads are panned center, with Volante still creating a pleasing psychoacoustic stereo image.

Imaging notwithstanding, Volante really sings when pushed to extremes! All the richly evolving, super-spacey sonic textures imaginable are available by turning up its REPEATS knob. Intuitive and responsive hands-on control for sculpting the feedback is also at hand.

Handily, Volante’s SPEED switch selects the speed of the recording media, allowing users to run any of its three magnetic echo machines at half, normal, or double speed; fidelity is higher at higher speeds, while lower speeds result in warmer repeats and more pronounced effects from mechanical and media irregularities introduced when turning up the MECHANICS knob.
By being designed from the ground up to radically enhance the sonic expressiveness of pedalboards, performance is clearly central to Volante’s raison d’être. Delayed psychedelic feedback sounds can be unleashed on command when working in Echo mode by pressing and holding the ON footswitch to activate Infinite Repeats; regardless of the current REPEATS setting, Volante will crank up echo regenerations for quick-building delay feedback — foot off of the switch results in Volante returning to the previous setting.

Speaking of performance, Volante can create dynamic loops that degrade and evolve. Change direction at the touch of a (reverse) footswitch. Press pause for a mechanical tape stop effect. Change the speed of the loop and simultaneously change the pitch in octave increments. Find an inspiring sound in Echo mode, and all echoes remain intact when engaging SOS (Sound On Sound). Once the loop has reached a perfect state of mutation, engage Infinite Repeats to stop further degradation, creating an infinite loop while disengaging the loop record head. While in Sound On Sound mode, pressing the ON footswitch results in the entire loop playing in reverse; users can continue recording new audio to layer with the reversed audio.

Armed with full MIDI control of every parameter, plus 300 preset locations, Volante is designed to be the center of sonic expressiveness for MIDI pedalboards. Put it this way: Volante transmits and receives MIDI over 5-pin DIN, USB, and even its EXP (expression) jack. Connecting an expression pedal opens up a whole new level of instantaneous, constant control; set as many knobs as desired for the heel and toe positions of the connected expression pedal and all settings simultaneously morph through the expression pedal’s full range. Remaining, briefly, outside of Volante itself, connecting Strymon’s simultaneously-announced MultiSwitch Plus accessory to Volante’s EXP jack adds additional footswitchable control; select between three presets, remote control of the SPEED switch, remote transport control, or further foot control while in Sound On Sound mode.
Continuing connectivity advancement, a dedicated INST (instrument)/LINE input level switch ensures that Volante can comfortably work with a variety of input sources — switch to INS when using a guitar level input, LINE when using Volante in the effects loop of a guitar amp or driving it with a hot output from a synth or mixer insert. Indeed, the LINE input is also perfect for using Volante as a send effect or insert effect in the studio.

Seriously flexible, then, the pedalboard sonic expressiveness-enhancing Volante really rewards experimentation, yielding rich, hypnotic, and often unpredictable results — albeit always highly musical. Making room for one (or more) in a pedalboard or studio setup surely sounds like a perfect plan!
Strymon is already accepting pre-orders for Volante via the Strymon Store (https://store.strymon.net/volante/) to American Samoa, Canada, Puerto Rico, United States, and United States Minor Outlying Islands for $399.00 USD (plus tax and shipping) or through its growing global network of authorized dealers (https://www.strymon.net/dealers/).

For more in-depth information, including informative video demonstrations, please visit the dedicated Volante webpage here: https://www.strymon.net/volante/

About Strymon (www.strymon.net)
Damage Control was founded in 2004 with the release of its line of tube-driven effects pedals, which earned critical acclaim and became firm favourites among guitarists across the globe. Product development under the Strymon name began in 2009, and the rest, as they say, is history... building products with no compromises; pushing the limits of what is possible with music gear; using exceptionally great components and ridiculously powerful processors; making gear that sounds better than anything; making its customers happy; inspiring them to create amazing music. 
© 2019 Strymon Engineering

Tuesday, 11 December 2018

iCON Pro Audio announces availability of QCon Pro G2 universal control surface and accompanying QCon EX G2 extender

High-quality, professional-grade musical equipment provider iCON Pro Audio is proud to announce availability of its QCon Pro G2 USB-MIDI Controller Station and QCon EX G2 USB-MIDI Controller Station — namely, next-generation versions of its full-featured, eight-channel universal control surface (with Mackie Control and HUI emulation to support most major DAWs) and accompanying extender, which adds an additional eight channels (and allows the system to be expanded to 32 channels with three extenders).

 As an all-new, next-generation version of its full-featured, eight-channel universal control surface, iCON Pro Audio’s appropriately-named QCon Pro G2 USB-MIDI Controller Station sports nine motorised faders — eight channel faders, plus one master fader, each 100mm in length and featuring 10-bit resolution, allowing for small and accurate adjustments during recording and mixing endeavours; eight multi-purpose push encoders, each surrounded by 11 LEDs (Light Emitting Diodes) which light up to indicate relative position of rotation so users do not need to take their eyes (and ears) off the ball by glancing back at the host computer; 78 assignable buttons — including illuminated channel Rec (record), Solo, Mute, and Sel (select), as well as six illuminated (Play, Stop, Rec, Rewind, FastForward, and Loop) Transport buttons; a Jog shuttle wheel; and two External Controls connections on 1/4-inch TRS jacks for receiving (optional) SPD-01 foot pedals to activate selected functions. Furthermore, 12-segment LED level meters are provided for each channel, and a large backlit LCD (Liquid Crystal Display) shows channel names and parameter values. Additionally, a 12-segment LED display is also provided for SMPTE (Society of Motion Picture and Television Engineers) or MIDI (Musical Instrument Digital Interface) beat clock information.

iCON Pro Audio’s QCon Pro G2 USB-MIDI Controller Station supports Mackie Control and HUI emulation to control its user’s favourite DAW (Digital Audio Workstation) and comes complete with overlays for most popular DAWs, including Ableton Live, Adobe Audition, Apple Logic Pro, Avid Pro Tools, BandLab Technologies Cakewalk by BandLab (formerly Cakewalk SONAR), Bitwig Studio, Cockos REAPER, Image Line FL Studio, MAGIX Samplitude, MOTU Digital Performer, PreSonus Studio One, Propellerhead Reason, and last, but not least, Steinberg Cubase and Nuendo.

Not content with ‘universal’ DAW compatibility, iCON Pro Audio also provides proprietary iMapTM self-MIDI-mapping software for the user-defined (MIDI Learn) mode, meaning users could, for example, assign those motorised faders to control specific virtual instrument or effect plug-in functions; freely riding them while playing an orchestral strings sample library can create more realistic recorded performances and arrangements. Almost anything is possible!

Perfectly class-compliant with Windows (XP, Vista, 7/8/10), and Mac (OS X 10.10 Yosemite and older, OS X 10.11 El Capitan, macOS 10.12 Sierra, macOS 10.13 High Sierra), and featuring a high-speed USB 2.0 connection, the QCon Pro G2 USB-MIDI Controller Station is expandable to 32 channels using three USB 2.0 connection-equipped QCon EX G2 USB-MIDI Controller Station extenders — equally class-compliant, of course.

Coinciding with the all new, next-generation QCon Pro G2 USB-MIDI Controller Station’s availability, the also-available QCon EX G2 USB-MIDI Controller Station similarly facilitates intuitive tactile control over sessions. Set levels, fine-tune EQs and effects, record automation, punch in and out of recordings — all at a user’s fingertips. Furthermore, it is outfitted with eight motorised channel faders, eight multi-purpose push encoders, and two foot pedal connectors; again, 12-segment LED level meters are provided for each channel, and a large backlit LCD shows channel names and parameter values — replicating its QCon Pro G2 USB-MIDI Controller Station sibling’s eight channel strips, in other words.

Watch iCON Pro Audio’s illuminating introductory video for its QCon Pro G2 USB-MIDI Controller Station and QCon EX G2 USB-MIDI Controller Station

With a fully-expanded, 32-channel QCon Pro G2 USB-MIDI Controller Station and QCon EX G2 USB-MIDI Controller Station system in place, perhaps owners could consider expanding its collective connectivity capabilities courtesy of iCON Pro Audio’s OneHub, providing power for four devices on a single plug while also acting as a USB (Universal Serial Bus) hub for a QCon Pro G2 USB-MIDI Controller Station and (up to) three QCon EX G2 USB-MIDI Controller Station expanders. Either way, with or without any accompanying expanders, iCON Pro Audio’s all-new, next-generation version of its full-featured, eight-channel universal control surface surely is a flexible force to be reckoned with — which will seriously enhance anyone’s workflow, whatever their favourite DAW might be!

iCON Pro Audio’s QCon Pro G2 USB-MIDI Controller Station and QCon EX G2 USB-MIDI Controller Station are available through the company’s growing global network of distributors (https://iconproaudio.com/distributors/), respectively priced at $549.99 USD/€499.00 EUR and $499.99 USD/€399.00 EUR.

For more in-depth information, please visit the dedicated QCon Pro G2 USB-MIDI Controller Station webpage here: https://iconproaudio.com/product/qcon-pro-g2/

For more in-depth information, please visit the dedicated QCon EX G2 USB-MIDI Controller Station webpage here: https://iconproaudio.com/product/qcon-ex-g2/

Watch iCON Pro Audio Marketing Coordinator Nadir Omowale’s user-friendly QCon Pro G2 USB-MIDI Controller Station and QCon EX G2 USB-MIDI Controller Station setup video



About iCON Pro Audio (www.iconproaudio.com)
iCON Pro Audio’s products power creative projects in studios all over the world. With operations in the United States, Europe, China, and Hong Kong, its goal is to provide high-quality, professional-grade musical equipment at affordable prices. Presently manufacturing over 150 products that are sold in over 60 countries, professionals worldwide trust those products’ proven build quality and innovative design day in, day out. Originally founded as iCON Digital Limited in 1997 by a group of music technology veterans from the US, Hong Kong, and Germany, their mission was to create a company that would manufacture quality gear at an economical cost for all musicians. Mission accomplished, today iCON Pro Audio owns and operates development, manufacturing, and administrative facilities in Hong Kong and Guangzhou, China, while the US location in Nashville, Tennessee, manages international marketing, customer support, and development teams. The future looks bright, thanks to a unique international development team and an industry-leading product portfolio ranging from MIDI control surfaces and keyboard controllers, audio interfaces, studio monitors, and microphones through to a myriad of accessories, all catering to performance and studio setups of all shapes and sizes. Stimulated by musicians, engineers, and enthusiasts, product ideas are brought to reality through a unique R&D effort involving in-house engineers in the US, Europe, and Asia. Aligned with an unwavering commitment to customer service and support, the company collectively strives to provide an unmatched customer service experience for musicians and media professionals everywhere.

© 2018 iCON Pro Audio

Friday, 7 December 2018

Accusonus End of the Year Sale 2018 - up to 65% off

Accusonus End of the Year Sale 2018 - up to 65% off

(Starts 12th December 2018 - Ends 31st December 2018)

December 2018 - Accusonus Inc., developers of critically-acclaimed human-friendly audio technology, are running a sale starting next Wednesday, on the 12th of December 2018. Until the 1st of January, Accusonus’ audio repair, beat making & drum mixing bundles and individual plug-ins will be available at a discounted price of up to 65% off. Great discounts are also available for existing customers looking to upgrade.

To learn more, please visit http://bit.ly/2PrFJRS

Accusonus End of the Year Sale Video:

Product Videos:

Price and Availability



MSRP
Black Friday Week
Regroover Pro
$219
$119
Beatformer
$99
$79
drumatom²
$299
$99
ERA Bundle Standard
(ERA Noise Remover, ERA Reverb Remover, ERA Plosive Remover, ERA Voice Leveler, ERA De-Esser)
$295
$99
ERA Bundle Pro
(ERA Noise Remover, ERA Reverb Remover, ERA Plosive Remover, ERA De-Esser, ERA Voice Leveler, ERA D)
$594
$199
Beat Making Bundle (Regroover Pro, Beatformer, All Regroover Packs)
$563
$199
Drum Mixing Bundle (drumatom² + Beatformer)
$398
$199
Accusonus’ All bundle
$1,456
$499
About Accusonus
Accusonus builds next-generation audio repair and music creation software. We think that audio repair should be fast, simple and accessible to everyone. We believe that computers are ideal tools for jamming, inspiring and creating the sound of the future. We develop our own patented Machine Learning and Artificial Intelligence technology in order to enable previously unimaginable sound processing workflows. Accusonus consumer technology has been licensed to some of the world’s biggest consumer media companies and is literally used by millions of content creators every day. Accusonus is based in Massachusetts (USA) and in Athens & Patras, Greece.

Applied Acoustics Systems releases the String Studio VS-3 string oscillator synthesizer plug-in

Applied Acoustics Systems announces the official release of String Studio VS-3—an all-new version of its string oscillator synthesizer for Mac OS X and Windows.

String Studio VS-3 is a synthesizer in which a collection of unique string oscillators replaces the traditional VCOs, DCOs, and operators as the main sound source. Consisting of picks, bows, and hammers interacting with a modelled string, these oscillators offer a special blend of modern and creative synthesis. Augmented with a soundboard, classic filters, an enveloppe generator, a LFO, and studio-quality effects, String Studio VS-3 proposes a brand-new path in the quest for tone.

“This new version is all about adding new dimensions to the distinctive sonic signature of String Studio,” says Eric Thibeault, product designer at Applied Acoustics Systems. “String Studio VS-3 is now multitimbral. Combining two independent String Studio synthesis engines opens up a whole new world in terms of content. We’ve also added per-layer modulators that allow sound designers to make sound variations an integral part of the design process. Most importantly, a huge effort has been put into the factory library to exploit all these new possibilities. Each and every sounds were fine-tuned to provide a consistent gain-stage, unity-gain effects, better dynamics, and compelling MIDI-controlled sound transformation assignments.​ ​We’re confident that you’ll love this new iteration of String Studio.”
AAS String Studio VS-3 – String Oscillator Synthesizer
https://www.applied-acoustics.com/string-studio-vs-3/ 
 
 The String Studio VS-3 plug-ins run on both Windows and Mac OS X in 64-bit host sequencers that support the VST2, VST3, Audio Units, AAX Native, and NKS formats.

50% Off Introductory Pricing
String Studio VS-3 is available now at a suggested retail price of US$199. Upgrades for String Studio VS-1 and VS-2 registered users are priced at $79. Until January 21, 2019, everything String Studio VS-3 is offered with an introductory discount of 50% and include the newly released String Theory sound pack by sound designer Adam Pietruszko—an extra US$39 value. Introductory prices are as follows:


– The String Studio VS-3 plug-in US$99
– The String Studio VS-3 +PACKS bundle US$149
– The String Studio VS-3 Upgrade +STRING THEORY for String Studio VS-1 and VS-2 users US$39
– All String Studio VS-3 sound packs US$19

 
 String Studio VS-3 +PACKS bundles the String Studio VS-3 plug-in, the new String Theory sound pack, and seven (7) additional sound packs.

For the time of the promotion, the String Studio VS-3 Upgrade for String Studio VS-1 and String Studio VS-2 users includes the new String Theory sound pack.

About Applied Acoustics Systems
Applied Acoustics Systems (AAS) was founded in 1998 and is based in Montreal, Quebec, Canada. As a privately-held company, it specialises in software-based synthesis tools for professional musicians and sound designers. Since releasing Tassman, the first virtual instrument based on physical modelling, AAS has come to be recognised as the industry leader in this exciting new field of synthesis.

Tuesday, 4 December 2018

XILS-lab updates ultimate matrix modular soft synth with welcomed fanciful features added to XILS 4 v1.5

"My favourite analogue synth is probably the VCS3, so when I heard that a company was releasing a software version I was quite cautious; today, XILS 4 is one of my favourite plug-ins! Working with it gives me the same excitement as the original hardware, plus there are lots of extra features, since it is basically two VCS3s with an interconnected sequencer. The sound is great, and it is one of the best soft synths on the market for experimenting with new ways of creating sounds!” - Jean-Michel Jarre (award-winning composer, performer, and record producer), April 2015


Audio software company XILS-lab is proud to announce availability of XILS 4 v1.5 — a major update to its self-styled ultimate matrix modular soft synth, effectively emulating a conceptual ‘blend’ of the legendary VCS4, a ‘dual VCS3’ analogue matrix modular synthesizer prototyped by British trailblazing entity EMS (Electronic Music Studios) back in 1969 but never commercially released, with pioneering British synthesist Tim Blake’s so-called ‘Crystal Machine’ (comprising two EMS Synthi AKS analogue matrix modular synthesizers with hard sync between their oscillators, one connected to the keyboard and the other connected to the sequencer) — with welcomed additional fanciful features including a powerful preset manager in a single window and new effects with semi-modular routing.

 

Historically, XILS-lab’s self-styled ultimate matrix modular soft synth creatively combines two XILS 3 soft synths; indeed, its earlier, critically-acclaimed release represents an authentic-sounding software recreation of the groundbreaking late-Sixties-vintage EMS VCS3 analogue matrix modular synthesizer, scaled up to also emulate EMS’ early-Seventies-vintage Synthi Sequencer 256, but boasting even more matrix connections than the original hardware that inspired it! In order to gain an appreciation of the sheer scope of XILS 4, understanding the origins of its smaller software sibling is in order; so let us journey, briefly, back in time, then… to 1969.

The British-built EMS VCS3 — or Electronic Music Studios Voltage Controlled Studio #3 to give it its full appellation (also affectionately known as ‘The Putney’ — after company founder Peter Zinovieff’s original pioneering electronic music studio location in the leafy London suburb — and, somewhat confusingly, ‘The Synthi’ — after its later SYNTHI VCS3 II incarnation) — made musical history upon its 1969 introduction as the first commercially portable synthesizer available anywhere in the world. Its innovative modular matrix-based patchboard dispensed with the telephone exchange-like cabling of other (much larger) modular systems in favour of making connections with (removable) coloured pins, so it could be comfortably housed in a small wooden (solid afrormosia) cabinet. Clearly distinctive in both its physics laboratory test equipment-lookalike looks and strange-sounding sound effects, the VCS3 quickly found favour with the more experimental leading lights of the day, including the BBC Radiophonic Workshop (think Dr Who), Brian Eno (with Roxy Music), Jean-Michel Jarre, and Pink Floyd, to name but a few first-generation famous users. Ultimately, thanks to Peter Zinovieff’s visionary synth wizardry, patch-building became a whole lot easier with more inputs and outputs to boot, and no more roadies (necessarily) needed!

Needless to say, time and tide waits for no man (and no synth), so technology’s inexorable march onwards inevitably saw the venerable VCS3 washed away as a wave of powerful programmable American analogue polysynths took hold, opening the technological floodgates to the tsunami of more mainstream (and affordable) digital developments that ultimately changed the course of music making forever.

 

Fortunately for some, what goes around often comes around; today those strange sounds are sought after again and new VCS3s are available to custom order from a former EMS employee — albeit at a premium price tag with a predictably distant delivery date; mere musical mortals, meanwhile, have XILS-lab to thank for its cost-conscious and award-winning XILS 3 soft synth successfully taking the emulated essence of the late-Sixties-vintage VCS3 and associated early-Seventies-vintage Synthi Sequencer 256, transporting them to modern-day DAW-driven workflow with all the recallable benefits that brings with it. It is little wonder that XILS 3 proved popular with both first-time buyers beginning an intriguingly in-depth journey into the wonderful world of modular synthesis and also seasoned synthesists, such as renowned sound designer Richard Devine and original VCS3 aficionado Tim Blake (Hawkwind), as well as Peter Zinovieff himself, who kindly commented, “A great step forward!”

Fast-forwarding to today, thanks to constructive conversations with both Peter Zinovieff about EMS’ fabled fusion of two VCS3s to produce the prototyped VCS4 and pioneering British synthesist Tim Blake about his so-called ‘Crystal Machine’ (comprising two EMS Synthi AKS analogue matrix modular synthesizers, with hard sync between their oscillators, one connected to the keyboard and the other connected to the sequencer), which resulted in XILS-lab’s self-styled XILS 4 ultimate matrix modular soft synth — subsequently reaping the benefits of a high-profile namecheck by French electronic music pioneer par excellence Jean-Michel Jarre as one of his favourite plug-ins, XILS 4 v1.5 takes that conceptual ‘blend’ to its current contemporary conclusion, courtesy of the New Preset Manager (NPM) being implemented alongside an additional natural-sounding reverb, new effects with semi-modular routing, second independent keyboard, and self-explanatory BAL L-R (balance between left and right synthesizer module) knob.

Needless to say, that NPM implementation is a major step forward in the evolution of XILS 4, allowing users to easily and speedily perform different tasks with welcomed visual feedback — for example, locate and load the most suitable preset in seconds via a multi-criteria search engine, save/save as presets with (user-generated) tags, batch-tag multiple selections of presets, export/import multiple selections of presets, and select view (such as showing only favourite presets or hiding unwanted presets). In adding a natural-sounding reverb to XILS 4 v1.5, XILS-lab also took the opportunity to totally revamp its Effects Block, so users can now route any effect in any order, and also choose to process only the left or right synthesizer module with any available effect; in short, while previous versions offered only one instance of fixed effect routing, now dozens of possibilities are available — adding reverb on the chorus (or vice versa) or processing the left synthesizer module with reverb and the right synthesizer module with delay and phaser, for example. Elsewhere, the second keyboard opens up XILS 4 to the possibilities of split patches or layering the two synth engines to only one part of the keyboard.

Accomplished additions apart, XILS 4’s (online-viewable) full feature list is impressive as it comes — cue 12 aliasing-free oscillators, grouped in six pairs across two synthesizer modules, with wave shaping and hard sync, plus two additional noise generators, and two (virtual) analogue multimode filters, each with non-linear and zero-delay behaviour and three different (12/18/24 dB) modes… just for starters. Simply said, those already fanciful features really represent only the tip of the inspirational iceberg, so-to-speak… just ask Jean-Michel Jarre about its pin matrix magic, for what it’s worth! With up to 1,140 simultaneous connections per patch, perhaps it is all the more understandable that he said, “… it is one of the best soft synths on the market for experimenting with new ways of creating sounds!”

XILS 4 v1.5 is available to purchase as a USB eLicenser or iLok (1 and 2 dongle hardware or software) protected plug-in at an introductory promo price of €99.00 EUR until December 10, 2018 — rising thereafter to an MSRP of €179.00 EUR — from XILS-lab here: https://www.xils-lab.com/products/xils-4-p-148.html (Note that XILS 4 v1.5 is free for owners of all earlier versions of XILS 4.)

XILS 4 v1.5 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit soft synth and virtual effects plug-in for Mac (OS X 10.7 and later) and Windows (XP, 7, 8, 10) from here: https://www.xils-lab.com/products/xils-4-p-148/download.html

About XILS-lab (www.xils-lab.com)
Based in Grenoble, France, XILS-lab is an audio software company, created and managed by Xavier Oudin. Having created some of the best known virtual instruments and effects plug-ins on the market for various companies over the last 20 years, today he focuses on bringing his passion for audio, instruments, and music to bear on his own company. Working with highly-skilled professional musicians and sound designers, the company collectively believes that a virtual instrument or effect is not simply a series of mind-boggling mathematical algorithms designed and scrutinised over by bookish PhD engineers but rather a useful and useable musical tool made for musicians. Moreover, XILS-lab loves to create virtual instruments and effects that inspire its users to create more imaginative music than they ever dreamed possible!

© 2018 XILS-lab

FabFilter releases FabFilter Pro-Q 3 equalizer plug-in with dynamic EQ

FabFilter is proud to announce the availability of FabFilter Pro-Q 3, a major update to the acclaimed Pro-Q equalizer plug-in. Pro-Q 3 improves on its predecessor in every area, introducing dynamic EQ, surround support, per-band mid/side processing, and much more, while maintaining the pristine sound quality and exceptional ease of use for which Pro-Q has always been known.


Integrated dynamic EQ

Pro-Q 3 adds the ability to switch any of its 24 bands to Dynamic EQ mode, with a simple, elegant workflow: just raise or lower the Dynamic Range ring around the Gain knob to apply smooth compression or expansion to that band. An intelligent algorithm automatically chooses program-dependent attack, release, and knee settings, while the Threshold can be set automatically, according to the input signal level, or manually. And, of course, dynamic EQ bands continue to operate with perfect analog matching and support Linear Phase mode.

Surround support

Pro-Q 3 works with all major surround formats, up to Dolby Atmos 7.1.2. The plug-in automatically configures itself to the multichannel format of the hosting surround track, and an intuitive selection panel enables EQ adjustment of multiple channels together.

Mid/side processing

Pro-Q has long been able to work its equalization magic on the mid or side channels in a stereo signal, as well as left and right, and this functionality becomes even more flexible with Pro-Q 3. Each individual band can now be set to process only the Mid, Side, Left, Right, or Stereo channels, so users can get truly surgical with their stereo frequency-shaping on a band-by-band basis.

New filter types

Pro-Q 3 adds to Pro-Q 2’s multitude of filter types with the all-new Flat Tilt shape, applying a flat tilting correction curve to the entire audible spectrum. And for those occasions when even the super-steep 96dB/octave roll-off slope isn’t precise enough, the Low and High Cut filter types can now be set to Brickwall mode for the ultimate in top/bottom attenuation.
Improved spectrum analyzer and Spectrum Grab

Pro-Q 3’s spectrum analyzer makes it easier than ever to find and correct problem frequencies in the mix. Activate the new collision detection to view clashes between the source signal and the spectrum of any other Pro-Q 3 instance in the session, and get an instant handle on the most important peaks in Spectrum Grab mode with frequency/note labels.



 

Key features:
  • Professional mastering-grade EQ plug-in with exceptional sound quality
  • Up to 24 bands with a huge range of filter types
  • Dynamic EQ option for every band
  • 6-96dB/octave slopes for all filter types
  • Additional Brickwall slope for the High Cut and Low Cut filters
  • Per-band Stereo, Left, Right, Mid, or Side mode
  • Zero Latency, Natural Phase, and Linear Phase processing modes
  • Extremely efficient processing and low memory usage
  • Surround support, including Dolby Atmos 7.0.2 and 7.1.2 formats with flexible surround channel linking
  • Adapts automatically to stereo, mono, and surround channel layouts
  • Intelligent multiband selection and editing
  • Intelligent band solo mode
  • Powerful real-time spectrum analyzer
  • External spectrum visualization from any other Pro-Q 3 instance in the session, including collision detection
  • Spectrum Grab: grab and adjust a peak directly in the spectrum analyzer
  • EQ Match for imposing the tonal characteristics of one signal on another
  • Piano Display switches the frequency scale to musical note values
  • Separate mastering (3/6dB) and mixing (12/30dB) display ranges
  • Undo/redo and A/B comparison
  • Beautiful, responsive, resizable GPU-accelerated graphical interface with full-screen mode
  • MIDI Learn with option to control the currently active band
  • Retina support on macOS and High DPI support on Windows
  • Supports common Pro Tools hardware control surfaces

FabFilter Pro-Q 3 is now available for EUR 149, USD 179 or GBP 134, supporting both Windows and macOS in VST and VST 3, Audio Units, AAX, and AudioSuite plug-in formats. Bundles with FabFilter Pro-Q 3 and other FabFilter plug-ins are also available at: www.fabfilter.com/shop

Existing FabFilter customers can purchase or upgrade to FabFilter Pro-Q 3 with very attractive discounts by logging into their online user account at: www.fabfilter.com/myaccount

 System requirements are either Windows 10, 8, 7, Vista, or XP, and a VST 2/3 host or Pro Tools, or Mac OS X 10.8 or higher with Intel processor, and an Audio Units host, VST 2/3 host, or Pro Tools. Both 64-bit and 32-bit hosts are supported.


About FabFilter
Beautiful sound. Fantastic workflow. These are the foundations of FabFilter. Continually challenging and rethinking industry standards, FabFilter creates powerful audio plug-ins with superb sound quality and innovative interfaces. FabFilter was founded in 2002 by Frederik Slijkerman and Floris Klinkert, and is based in Amsterdam, The Netherlands.

© 2018 FabFilter Software Instruments