Thursday, 18 October 2018

Rob Papen pushes plug-in bundle beyond belief with all-encompassing eXplorer 5

Virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of eXplorer 5 — furthering the creative scope of its inspirational plug-in bundle by adding Go2, MasterMagic, and RAW-Kick to the all-encompassing musical mix.

Now numbering no fewer than 20 highly-versatile virtual instruments and extraordinary effects, eXplorer 5 pushes Rob Papen’s plug-in bundle beyond belief by including three new additions that more than live up to its Inspiration Soundware slogan.
 
MasterMagic is an aptly-named effect plug-in with which to improve mixes or final masters alike. Anyone placing MasterMagic at the very end of their virtual master effects chain can easily experience how much it can help improve their tracks. The MONO/STEREO SPLIT FILTER section will make the low end much tighter while the AIR function — even applied at a liberal level — is sheer magic. Make no mistake: there’s no mystery about this magical musical tool!

The name maybe gives the game away, as RAW-Kick represents Rob Papen’s cutting-edge kick drum-creation tool! The perfect weapon of choice for those hard-sounding electronic dance music styles — such as Hardcore, Hardstyle (mixing influences from Techno and Hardcore), and Industrial — and also EDM and House. Here RAW-Kick creatively enables the use of three layers, each of which can be either modelled or sample-based at source. Rob Papen being Rob Papen, RAW-Kick has some refreshingly resourceful features with which to create unique-sounding kicks up its virtual sleeve! Still better, RAW-Kick comes complete with a varied selection of original presets from a long list of respected DnB, Hardcore, and Hardstyle producers, including Caine, DJ Mad Dog, DJ Promo, Orphidian, Sinister Souls, Tha Playah, The Outside Agency, and Wavolizer, to name but a notable few.

Watch Rob Papen’s promo video for eXplorer 5

Finally, Go2 is an appropriately-named, go-to synthesizer, set apart from its award-winning software siblings by virtue of all its controls and features always being in plain sight and always available to access onscreen, so simplifying usage for the average user. Ultimately, though, this is far from being a simple-sounding virtual instrument. Its Morph feature and XY section serve to make for a powerful software synthesizer, one with which users — average or otherwise — can create unique sounds speedily and easily! End game? Go2 surely shows that there is power to be had in the ‘less is more' maxim… and all without sacrificing audio quality!

Quality, of course, shines brightly through all 20 of eXplorer 5’s highly-versatile virtual instruments and extraordinary effects. Established Rob Papen classics such as Blade (quite literally a cutting-edge software synthesizer), BLUE-II (self-styled ‘Crossfusion Synthesis’), Predator2 (software synthesizer to die for), Punch (speaker-busting, body-rattling virtual drum synth), Punch-BD (Punch-based bass drum module), RAW (software synthesizer specialising in ‘distorted’ sounds specifically suited to EDM and beyond), RG (unique electric and acoustic guitar groove virtual instrument), and SubBoomBass 2 (groove bass software synthesizer) — not forgetting an array of effects, including RP-AMOD (uses modulators to alter audio in different ways), RP-Delay (six delay lines, eight filters, four LFOs, a reverser, and more), RP-Distort (designed to destroy, distort, or more subtly alter any audio), RP-EQ (silky smooth-sounding channel and mastering EQ), and RP-VERB 2 (advanced, transparent, and musical-sounding algorithmic reverb) — sit comfortably and creatively alongside those three additions to collectively push Rob Papen’s prized plug-in bundle beyond belief.

But hearing is believing; best put this way, eXplorer 5 is the all-encompassing best that you can get from Rob Papen — all the more so since it also includes PRISMA, easily enabling users to layer multiple Rob Papen virtual instruments into a creatively stacked sound like no other!

eXplorer 5 can be purchased in a boxed edition — featuring 20 AAX (32-/64-bit), AU (32-/64-bit), VST (32-/64-bit) compatible audio software plug-ins for Mac OS X (10.6 or higher) and Windows (Vista, 7, 8, and 10) — from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for €499.00 EUR/$499.00 USD from here: https://www.robpapen.com/eXplorer-5.html

Several options to upgrade to eXplorer 5 are also available, attractively priced as follows: €299.00 EUR/$299.00 USD (available to owners of one purchased Rob Papen product); €199.00 EUR/$199.00 USD (available to owners of two purchased Rob Papen products); €149.00 EUR/$149.00 USD (available to owners of three purchased Rob Papen products); €99.00 EUR/$99.00 USD (available to owners of eXplorer4); €49.00 EUR/$49.00 USD (available to owners of eXplorer4 + Go2); and €149.00 EUR/$149.00 USD (available to owners of eXplorer III).


About Rob Papen (www.robpapen.com)
Self-confessed synth freak and world-renowned sound designer Rob Papen started working with synthesizers at the tender age of 15 when purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer. Suitably inspired, he subsequently released several albums as part of Dutch electronic music groups Peru and Nova — the latter featuring the same members as Peru, but with a more commercial slant — with whom he enjoyed number one hit singles in The Netherlands (Nova) in 1982 and Austria (Peru) in 1988. Peru disbanded in 1993, by which time Rob had already established himself as a sought-after sound designer, creating presets for the likes of Waldorf, Access, Ensoniq, and E-mu, before going on to found his namesake company in pursuit of creating a sound designer’s dream synth. That software dream soon became reality when Rob formed the RPCX (Rob Papen ConcreteFX) partnership with music software developer Jon Ayres to develop new Rob Papen virtual instruments and effects plug-ins, starting with BLUE — an exciting-sounding, self-styled ‘Crossfusion Synthesis’ affair (combining FM, Phase Distortion, Wave Shaping, and Subtractive synthesis into one powerful dream synth) — in 2005. Today Rob Papen soundware defines cutting-edge contemporary music production: powerful virtual instruments and effect plug-ins that intermix innovative design, uncompromising sound quality, and musical, production-grade presets to make tracks truly shine, whatever the musical genre… Inspiration Soundware, indeed!

© 2018 Rob Papen Inspiration Software

Monday, 15 October 2018

Accusonus releases the ERA Voice Leveler, a single-knob tool autodetecting and fixing audio level inconsistencies

Accusonus releases the ERA Voice Leveler, a single-knob tool that automatically detects and fixes audio level inconsistencies

“Alright, so what does this ERA Voice Leveler do?”
The ERA Voice Lelever uses new patent-pending algorithms to automatically detect distracting level differences in voice recordings and correct them in real-time with the turn of a simple dial. Using the single-knob ERA Voice Leveler, you can save yourself from hours of manual gain adjustments, without leaving your DAW or NLE environment.

“Who’s it for and what are the most common use cases?”
The ERA Voice Leveler is a necessary tool for content creators such as videographers and podcasters, but also musicians and recording engineers.

You can use the Voice Leveler to fix vocal and dialogue volume problems resulting from:
  • Speaker movements that result in unintentional mic distance changes
  • Single-microphone recordings of two or more speakers (e.g. interviews, lectures, etc)
  • Sudden gain changes due to audio/video edits and re-arrangements in post production
  • Time-varying voice-over or vocal performances

“And why should I choose this over other options?”
Because it’s not only ridiculously easy to use but also incredibly effective.
We’ve condensed the complexity of the underlying algorithmic structures into a single knob!

It also features a “Tight” mode that provides a more focused “radio” sound that stands out from background music (e.g. audio and video ads, podcasts, vlogs, etc). The unique “Emphasis” mode automatically detects problems in tonal balance of voice recordings (for example when a speaker is not directly facing the microphone or has moved significantly from the mic between takes/scenes) and applies subtle processing to correct them and ensure consistent tone and intelligibility.

“Sounds good but can I see it in action?
Sure! Here you go:

“Where can I find the product installers?”

“And how much does it cost?”
The ERA Voice Leveler costs $59 on its own. But it will be also part of both the ERA Bundle Standard and the ERA Bundle Pro. For more info please look at the table below;

ERA Voice Leveler
AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win
$59
ERA Bundle Standard (Noise Remover, Reverb Remover, Voice Leveler, De-Esser, Plosive Remover)
AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win
Intro price: $119 (Reg: $354) -until October 31st-
ERA Bundle Pro (Noise Remover, Reverb Remover, Voice Leveler, De-Esser, Plosive Remover, ERA-D)
AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win
Intro price: $349 (Reg: $653) -until October 31st-

Wide Blue Sound spreads ORBIT and ECLIPSE wings with SKYLAB controller alongside APEX and AETERNA expansions

Musical synth designers Wide Blue Sound is proud to announce availability of its SKYPAD controller app alongside APEX and AETERNA — the first official expansion packs for its award-winning ORBIT and ECLIPSE flagship software synthesizers.


SKYPAD is a boundary-pushing remote and creative automation tool that runs on any iOS or Android tablet with Liine’s Lemur (MIDI/OSC controller) app installed. It adds hands-on control of every parameter in ORBIT and ECLIPSE, and, more importantly, adds many brand-new features to Wide Blue Sound’s software synthesizer flagships.


Firstly, SKYPAD’s Generator builds upon ORBIT and ECLIPSE’s Intelligent Randomize feature to create new patches based on musical and emotional keywords. It is the fastest way to make custom presets that simply sound fantastic! 
Furthermore, the Multiball page controls any parameters in the entire synth with a fun physics-based interface. Here SKYPAD users can quickly move objects around the screen with multi-touch, then record the result in their DAW (Digital Audio Workstation)!

The Spatial Mixer is an intuitive 3D space mixer. Here users can place each of the synth’s four sound sources in virtual space with their fingers or enable the Earth Gravity mode by moving the tablet itself. Indeed, this creative tool uses a hand-crafted combination of panning, filters, reverb, and delay to create a sense of distance and depth.

SKYPAD’s FX XY macro pads combine ORBIT and ECLIPSE’s essential effects parameters together. This time users can quickly shape sounds using simple gestures, generating dramatic sweeping motions between different distortions, spaces, and more.

 Watch Wide Blue Sound’s SKYPAD video walkthrough

Maintains Wide Blue Sound founder Nathan Rightmour: “The Wide Blue Sound team is really excited to release SKYPAD. We’ve dropped the keyboard and mouse completely here at WBS HQ, and now only use SKYPAD to interact with ORBIT and ECLIPSE. It’s so much more than a remote; for us, it’s been a new way to connect with sound and music.”

Meanwhile, Wide Blue Sound has also released the APEX and AETERNA expansion packs for ORBIT and ECLIPSE, respectively. Created by one of the industry’s most revered sound designers, they represent the latest trends in electronic and cinematic music.

SKYPAD now comes included with every purchase of ORBIT and ECLIPSE — priced at $199.00 USD and $149.00 USD, respectively, and available directly from Wide Blue Sound (https://widebluesound.com).

APEX and AETERNA are available at an attractive introductory promo price of $29.00 USD each — $39.00 USD each, thereafter —  from Wide Blue Sound (https://widebluesound.com), where audio demos can also be heard.


About Wide Blue Sound (www.widebluesound.com)
Wide Blue Sound’s bold, no-nonsense approach to musical synth design has inspired composers and producers around the world. Led by music producer Nathan Rightnour and award-winning Hollywood composer Jeff Rona, the company collectively thinks that music tools should be fun, inspiring, and absolutely filler-free!

© 2018 Wide Blue Sound LLC

Wednesday, 10 October 2018

Spitfire Audio comes back to (eDNA) EARTH with enriched encyclopaedia of cinematic synth sounds

Spitfire Audio is proudly reintroducing eDNA EARTH — enriching its epic collection of synthesised orchestral sounds created from ten years’ worth of widely-used, wide-ranging organic orchestral live recordings with which it has made its notable name as a British music technology company that specialises in sounds, this time warped or morphed into different textures and amazing state-of-the-art electronic soundscapes, served up via an easy-to-use, ultra-controllable GUI giving access to all areas of new sonic experimentation, enhanced with support for Native Instruments’ NKS (Native Kontrol Standard®) extended plug-in format for all virtual instrument developers (delivering seamless software connection to the German giant’s cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware for intuitive interaction).

eDNA EARTH is based around a collection of 1,900-plus basic instruments, mangled into over 1,000 custom presets professionally programmed by the talented team at Spitfire Audio during several months. The proprietary eDNA Engine — a sample-synthesiser powerhouse that can combine two sounds and modulate between them with envelopes, filters, and wobbles per sound, as well as a gate sequencer and a selection of go-to effects — driving those hard-won results is, itself, effectively user-driven by a GUI that’s as easy on the eye as it is easy to use, ultimately allowing for a wide range of genres and cinematic settings. Simply select by sound type — Atmos, Bass, Drones and Scapes, Drums and Percussion, FX, Keys, Leads, Pads and Strings, Sequences and Plucks, or Synthetic Orchestra — and play. Put it this way: with such depth of content — from beautifully refined dynamic crossfades to turbo-charged tempo synced, gated, and phased wonders — readily accessible, anyone playing each carefully crafted sound for only 30 seconds would need 15 hours to listen to each and every instrument and patch available! And that’s before tweaking to make more of their own.

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’
video walkthrough of eDNA EARTH

On top of that, the eDNA Engine itself is made up of seven so-called ‘cartridges’ — each curated by a different composer or engineer, each focusing on a distinct sonic style; perfectly positioned presets abound — all arranged by sound type, but users can also browse by cartridge, both from within the eDNA EARTH GUI or directly from Native Instruments’ cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware, thanks to that newly-implemented NKS support… no mouse or trackpads (necessarily) needed!

Watch Spitfire Audio ‘composer-in-residence’ Oliver Patrice Weder’s
‘In Action’ video for eDNA EARTH

eDNA EARTH cartridges currently comprise: ANALOGUE (digital verses analogue synth battles, made using Spitfire Audio co-founder Christian Henson's hallowed vintage synthesiser collection of Junos, Jupiters, Moogs, and MS20s, creating a whole new world of sonic opportunities); BROKEN (pseudo-organic atmospheres, crossfades, drones, effects, and pads curated by Harnek Mudhar, a Spitfire Audio engineer with his finger firmly on the pulse, successfully spanning the hinterland between organic orchestral material and raw synth sounds — almost like earthly instruments, but slightly warped); CINEMATIC (modern hybrid synths for the big screen, curated by multi-award-winning composer Christian Henson); DARK (series of chaotic, frenzied, dystopian sounds — from searing leads to super-fat basses and atmospheric, eerie pads, suitable for the grittier end of dance music while also adding edge to hybrid blockbuster and trailer work); RETRO (mainstream zeitgeist synths and patterns by resident Spitfire Audio sonic wizard Stanley Gabriel, adding an extra dimension to pop and dance music); TRANCE (EDM classics and next-generation dance, rhythmic synths, and epic drops, taking users on a journey from quirky 8-bit vintage game console sounds through to ambient techno and minimal house); and WARPED (ever-changing soundscapes — hold down a sound and move the modulation wheel very slowly, since such sounds are programmed to morph beyond all recognition via vibrant shimmering paths).

As an evidently elated Christian Henson himself says: “So we’ve updated eDNA; the sounds are a lot easier to browse, it’s now NKS-compatible, and I’m actually working on a new cartridge at the moment, which I’m quite excited about — always a joy to work with EARTH!”

 Watch fellow Spitfire Audio Directors Christian Henson and Paul Thomson
telling the story behind eDNA EARTH

Working with the enriched encyclopaedia of cinematic synth sounds that is eDNA EARTH is, indeed, a joyful and musically-enthralling experience, one which benefits from fellow Spitfire Audio co-founder Paul Thomson’s thoughtful consideration as to why, exactly, content that is organic at origin yet sounds synthetic mixes better with live or orchestral elements: “It’s about having depth in the sound, as opposed to a slightly two-dimensional sound. Even though you can get a synth sound that appears to have a depth in the soundstage, there’s something about a sound that’s recorded in a space that has a kind of spacial depth. When Quincy Jones worked on Michael Jackson’s albums, a lot of the synths were played out into the room and then re-amped, basically, in order to get a kind of sonic depth to the sound. So I think that what we’ve done — by starting with a sound that was recorded in a 3D space and then kind of imposing synthetic texture on to it — is retain that depth within the sound.”

Wise words there from a sound musical mind. Musically, then, eDNA EARTH has been created with film, TV, and games music in mind, offering endless inspiration to the next generation of media composers, whether wishing to go ‘off world’ — following in the bold footsteps of Greek genius Vangelis, whose inspirational futuristic fusion characterised the timeless score to visionary director Ridley Scott’s 1982 neo-noir science fiction film classic Bladerunner, which, in Christian Henson’s equally wise words, “…was synthetic but approached from an orchestral arrangement POV…” — or keeping their musical feet firmly planted here on earth! Either way, eDNA EARTH should also appeal to dance and pop producers wanting to add cutting-edge, cinematic electronic textures to their music — made even easier by Spitfire Audio coming back to (eDNA) EARTH with an enriched encyclopaedia of cinematic synth sounds!

eDNA EARTH can be purchased and digitally downloaded for a time-limited introductory promo price of £99.00 GBP (inc. VAT)/$99.00 USD/€99.00 EUR (inc. VAT) until October 11, 2018 — rising thereafter to an RRP of £149.00 GBP (inc. VAT)/$149.00 USD/€149.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/edna-earth/

For more in-depth information, including some superb-sounding audio demos, please visit the dedicated eDNA EARTH webpage here: https://www.spitfireaudio.com/shop/a-z/edna-earth/

eDNA EARTH needs Native Instruments’ free KONTAKT PLAYER (5.6.8 or higher) — included in the purchase — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) 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.


About Spitfire Audio (www.spitfireaudio.com)
Spitfire Audio is a British music technology company that specialises in sounds — sample libraries, virtual instruments, and other useful software devices. It collaborates with the best composers, artists, and engineers in the world to build musical tools that sound great and are exciting to use.
© 2018 Spitfire Audio Holdings Limited

Thursday, 4 October 2018

ACCUSONUS’ BEAT MAKING BUNDLE SALE (VALID UNTIL 8 OCT 2018)

ACCUSONUS’ BEAT MAKING BUNDLE SALE (VALID UNTIL 8 OCT 2018)

Accusonus welcomes the fall season with a sale on their beatmaking bundle, valid until the 8th of October 2018.

Extract stems from your loops with Regroover and instantly transform the sound of your beats using Beatformer
Regroover Pro + ALL Expansion Packs + Beatformer
VALID UNTIL 8 OCT 2018

* * * * *

VALID UNTIL 8 OCT 2018
Regroover is an award-winning tool based on artificial intelligence that splits your audio loops into stems. Use Regroover to instantly remix your loops via the easy-to-use stem markers. Export and save isolated beat elements and create inspiring drum kits.  

VALID UNTIL 8 OCT 2018
Beatformer is an beat-sculpting plugin with four intuitive knobs:Boom, Punch, Air, Squash. Beatformer allows you to bring energy and add character to your beats without compromising musicality. Add substance to thin sounds and glue your drum mix together. Works great with synths and other melodic elements too!  


Visit accusonus.com to find out more.


Free fully-functional trials for all plugins are available.

XILS-lab pushes polysynth hommage beyond the pleasure principal with welcomed PolyM 1.1.0 update additions


Audio software company XILS-lab is proud to announce availability of PolyM 1.1.0 — updating its critically-acclaimed, authentic-sounding software recreation of a pioneering polyphonic analogue synthesizer manufactured between 1975 and 1980 (based on divide-down oscillator technology similar to electronic organs and string synthesizers of the time), and arguably made most famous by British ‘new waver’ Gary Numan, notably seen as well as heard when ‘driving’ over an endless ‘synthscape' in the trailblazing promo video for his 1979 chart-topping ‘Cars’ single; someone since observed that career-defining song’s parent album, The Pleasure Principal, “…is almost an album-length advert for the Polymoog…” — with welcomed additions including a new preset manager and an ability to run as an effects plug-in, plus compatibility with Native Instruments’ Native Kontrol Standard (NKS®).
PolyM first put in an appearance last year, when XILS-lab clearly considered those oft-overlooked Polymoog presets to be well worth revisiting, recreating an ‘unlimited’ polyphony polysynth that was recognisably revolutionary upon its initial release and making it fit for today’s creative computer-based music-makers with a state-of-the-art software makeover. Making that happen took two years — such was the complexity of its inspirational hardware predecessor. PolyM palpably didn’t disappoint, deftly reproducing yesteryear’s divide-down technology with two TOD (Top Octave Divider) oscillators — one for the sawtooth wave and another for the square, slightly detuned for a phenomenal phasing effect (when running independently in FREE mode), yet taking the concept further forward by adding polyphonic pulse width modulation. Meanwhile, in LOCK mode, those two TOD oscillators are almost locked in phase, producing PM (Phase Modulation) instead of FM (Frequency Modulation) when the square wave oscillator is modulated in pitch. The two TODs can also be modulated — tempo-sync-able — in pitch by an LFO (Low Frequency Oscillator), while the square wave oscillator has it own pulse width modulation by a tempo-sync-able LFO. Alongside a distinctive envelope generator, this represents the musical heart and soul of PolyM, pushing that revolutionary polysynth sound kicking and screaming into the future!
 
Further features of note include: 71 emulated chips, offering mixer, VCA (Voltage-Controlled Amplifier), envelope, 12dB filter, and pulse width modulation for each of the available notes; stunning-sounding 24dB ladder filter (using XILS-lab’s critically-acclaimed zero-delay algorithm); nine dedicated acoustic filters — STRING, PIANO, ORGAN, HARPS, FUNK, CLAV, VIBES, BRASS, and VOX — carefully recreated from the original (model 203a); RESONATORS filter bank with three parametric (6dB and 12dB) filters matching the original; three vintage — DEL. (delay), PHAS. (phaser), and REV. (reverb) — effects (with adjustable settings from within an Advanced Settings Panel alongside nine modulation slots for furthering sound design possibilities well beyond the scope of the original hardware); and more.
 
Today, thanks to the PolyM 1.1.0 update, there’s even more to (literally) make a song and dance about. As such, the NPM (New Preset Manager), a newly-integrated, single-window affair allowing users to easily and speedily perform different tasks with welcomed visual feedback — for example, locate and load the best fitting preset in seconds courtesy of 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) — represents a major step in PolyM’s evolution; by that same token, those acoustic filters and RESONATORS, as well as the three vintage-sounding effects, are also available to work with other sound sources when running PolyM purely as an effects plug-in proffering plentiful possibilities for modulation; meanwhile, support for Native Instruments’ NKS® extended plug-in format for all virtual instrument developers delivers intuitive and seamless interaction with the German giant’s cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware.

Helpfully, there are now over 300 professionally-programmed presets available as creative kickstarters in PolyM; parameters are all MIDI-controllable, combining to musically position this soft synth par excellence as an innovative instrument of its time while retaining a certain pioneering polyphonic analogue synthesizer’s coveted performance properties of the past. Put it this way: while what the deceased Austrian neurologist (and founder of psychoanalysis) Sigmund Freud would have made of this polysynth hommage is obviously open to speculation, surely the still active Gary Numan should approve… as will anyone’s bank balance by paying (comparatively) so little for so much playing pleasure. Thanks to its welcomed 1.1.0 additions, PolyM pushes beyond the pleasure principal in both senses, so anyone wishing to sonically travel back to the future should seriously consider adding it to their soft synth arsenal — all the more so at an attractive (albeit time-limited) introductory promo price representing a welcomed 40% saving. Best be quick, though — time waits for no man… or woman (or child)!
 
PolyM 1.1.0 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 €89.00 EUR until October 31, 2018 — rising thereafter to an MSRP of €149.00 EUR — from XILS-lab here: http://www.xils-lab.com/products/polym-p-160.html

PolyM 1.1.0 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/polym-p-160/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

Faithfully Recreating Legendary Algorithms from the Ground-breaking Hardware

Eventide is proud to announce availability of the SP2016 Reverb plug-in — perfectly recreating a classic collection of reverb algorithms from its history-making SP2016, pro audio’s first rack-mount multi-effects processor.


The original SP2016 introduced the concept of ‘plug-ins’ to a perplexed pro audio world way back in 1982! Revered for its signature reverbs by mix and recording engineers like Mick Guzauski, Roy Hendrickson, George Massenburg, Dave Pensado, and Allen Sides, to name but a notable few, the SP2016 can be heard on countless hit records, from Madonna to Mariah Carey and Adele to Emimen.
 

“The classic Eventide SP2016 has always been my go-to reverb,” says legendary mix engineer Dave Pensado. “It has the unique ability to make vocals, instruments, and drums sit perfectly in a mix. The new SP2016 plug-in now gives us all access to this incredible reverb, and no one is happier about this than me!”

 
Precisely modelling every aspect of those hardware units was neither quick nor easy, but today the must-have sonic beauty bestowed by these reverb classics can be applied to anything — in-the-box or live.

Features:
Three distinct reverb types, each available in two versions: Vintage and Modern. The Modern algorithms are brighter, more diffused, and use higher bit resolution.
  • Room: Basic no-nonsense, no-frills ambient ‘room.’ The extreme pre-delay range makes it possible to use this effect for reverberant doubling and single echoes.
  • Stereo Room: Recreates the ambience of a large concert hall, with very clear, natural reverberation.
  • Hi-Density Plate: Plate reverb with dual pickups simulating the effect of a big, heavy plate allowing users to make vocals, guitars, and percussive instruments appear much bigger and brighter than they actually are.
• Unique Position control allows users to take their listeners from the back of the room all the way to the stage while retaining all of their other settings.
• Control the structure of the reverb by fine-tuning the controls — including PREDELAY, DECAY, POSITION, and DIFFUSION. The EQ section allows for simple high and low filtering of the reverb with adjustable filter ranges. The low filter can be used to cut or boost at the specified frequency.
• Boasts a variety of artist presets including some by Dave Pensado, Joe Chiccarelli, Richard Devine, Sasha, George Massenberg, The Butcher Bros., Buda &Grandz, Erin Tonkon, and more.


The new SP2016 Reverb (MSRP $249.00 USD) is available as an AAX/AU/VST plug-in for Mac and PC at a promo price of $79.00 USD thru October 31, 2018. Owners of Eventide’s 2016 Stereo Room or Anthology XI can cross-grade for $29.00 USD during the promo period.

For more in-depth information, including a free and fully-functional 30-day trial, please visit the dedicated SP2016 Reverb webpage here: https://www.eventideaudio.com/sp2016

For fascinating historical context, check out Eventide’s legacy SP2016 webpage here: http://bit.ly/Sp2016-Legacy

Demo videos & artist interviews:
http://bit.ly/SP2016videos


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.

© 2018 Eventide Inc.

Heritage Audio expands ELITE SERIES with HA-73 EQX2 DUAL MIC AMP/EQUALIZER

Following in the footsteps of its successful single-channel predecessor, the HA-73 EQ MIC AMP/EQUALIZER, European pro audio manufacturer Heritage Audio is proud to announce availability of its HA-73 EQX2 DUAL MIC AMP/EQUALIZER — equipped with two mic pre/equalizers in the same rack unit to tender twice the mojo for less than twice the cost as the latest addition to the premium processing excellence-exhibiting ELITE SERIES.
 
Heritage Audio’s premium processing excellence-exhibiting ELITE SERIES products are all made to the same specifications as its acclaimed ’73 JR (true 1073-style mic preamp in a single 500 Series slot), ’73EQ JR (fully-featured line input module for the 500 Series), and DMA 73 DUAL MIC AMPLIFIER models in a price range with no contenders. Combining mass production, lean manufacturing, and modern construction techniques has helped Heritage Audio to reduce the high costs associated with western European-manufactured goods, guaranteeing the same quality standards for all of its products. And all without forsaking key components called upon for achieving a true vintage sound, such as industry-standard Carnhill transformers, hand-wound in St Ives, England.
 
Employing three correct-vintage ‘Vinkor’ pot core inductors, the ELITE SERIES’ HA-73 EQX2 DUAL MIC AMP/EQUALIZER’s EQ curves are almost indistinguishable from the handmade equalizers in Heritage Audio’s product line so customers can expect the same sonic quality and feel that they have come to appreciate from the company.

 Watch Heritage Audio founder Peter Rodriguez introducing
the HA-73 EQX2 DUAL MIC AMP/EQUALIZER
 

Cutting to the chase, then, the HA-73 EQX2 DUAL MIC AMP/EQUALIZER’s preamp section features gain, OUTPUT trim, -20dB PAD, polarity reverse, a high pass filter, and +48V phantom power while its EQ section features a high shelving EQ, midrange EQ, low shelving EQ, a variable high pass filter, and EQ bypass.
 
The HA-73 EQX2 DUAL MIC AMP/EQUALIZER itself is housed in a rugged, 2RU British steel and aluminium chassis and utilises an external power supply for facilitating low-noise operation. Come check it out on Booth 340 at AES New York 2018 — the 145th Audio Engineering Society International Convention — on October 17-19, Jacob J. Javits Convention Center, New York, NY, USA.

The HA-73 EQX2 DUAL MIC AMP/EQUALIZER is available for immediate purchase via Heritage Audio’s growing global network of dealers (https://www.heritageaudio.net/where-to-buy/) with an MSRP of €1,511.00 EUR (excluding VAT) and MAP of $1,699.00 USD.

For more in-depth information, please visit the dedicated HA-73 EQX2 DUAL MIC AMP/EQUALIZER webpage here: https://www.heritageaudio.net/catalogue/ha73eqx2-elite/

About Heritage Audio (www.heritageaudio.net)
Heritage Audio is a European pro audio manufacturer based in Madrid, Spain. Founded in 2011 by Peter Rodriguez, a sound engineer and producer with extensive experience in the music industry, its aim is true: to bring back the philosophy of the golden age of recording and adapt it to the needs of 21st Century studios while contributing to transitioning music into a new era in the process. The company’s canon covers all analogue signal processing bases. All its products are designed and manufactured in Spain and available in over 36 countries worldwide.© 2018 Heritage Audio

Wednesday, 26 September 2018

The Loudspeaker Sourcing Show gears up for fourth annual trade show for speaker brands and suppliers

The Loudspeaker Sourcing Show — an annual one-stop solution for loudspeaker brand buyers, engineers, and their decision-makers to meet directly with qualified loudspeaker factories all under one roof to focus on making better products for consumers by providing better solutions for the marketplace — is all set to return to the Nansha Grand Hotel Guangzhou in Guangzhou, China as a three-day industry-only event hosting more attendees and exhibitors than ever before between October 16-18, 2018.
Sound is increasingly omnipresent in today’s global marketplace; making meaningful sound waves means someone, somewhere must be making informed decisions in the ever-widening world of loudspeakers, yet one of the biggest market challenges facing businesses dealing with loudspeakers in the audiophile, A/V, contractor, mobile, musical instrument, and professional audio industries is identifying actual qualified suppliers from supplier agents or potential competitors.

Cue The Loudspeaker Sourcing Show, conceived and created by husband and wife team Philip Richardson — owner of the Trueanalog Strictly OEM factory in Guangzhou, China (established to serve the international high-end and mid-fi driver and system industries) — and Mandy Tseng — daughter of the founder of Guangzhou, China-based T-yokes, top plates, and U-yokes specialist manufacturer Zeng Ben Industrial — to connect qualified speaker component manufacturers directly with businesses that need their services. Sensibly, manufacturers are already vetted based on their history of providing quality loudspeaker product solutions or related services, so only actual manufacturers are allowed to exhibit at the show — not third-party brokers. Better still, this eliminates those painful hassles of identifying actual manufacturers so that everything from development to quality assurance can be easily and openly discussed at the show itself.

“Our goal is to greatly improve the communication and relationships between brands and suppliers,” states show host Philip Richardson. Reality dictates that they must be doing something right, as The Loudspeaker Sourcing Show co-creator continues: “This year will be the fourth annual show, and each year the shows keep getting bigger and better with larger attendance and more of the world’s speaker brands realising its potential. Imagine sitting down for a quiet moment with the best suppliers of speaker components and systems across all of Asia.”

Thanks to The Loudspeaker Sourcing Show, it is perfectly possible to do just that, as evidenced by some serious industry players who will be in attendance this year, such as Southern California’s Sonance, inventors of the world’s first architectural speaker some 30 years ago (before becoming today's most recognised and highly awarded manufacturer in the architectural speaker and outdoor audio categories worldwide); Intertechnik GmbH, an über-successful German manufacturer, seller, and distributor of electronic, audio, and hi-fi products; and Dr. Kurt Müller GmbH & Co. KG (DKM), a leading international supplier for acoustic parts — including some of the best paper cones in the world — to major loudspeaker companies with over 70 years experience, to name but a notable few.

On the flip side of that, exhibitors at The Loudspeaker Sourcing Show — this time including Vistron, Southern China's premier choice for high-performance, high-value subwoofer and bookshelf plate amplifiers — are there to provide OEM (Original Equipment Manufacturing)/ODM (Original Design Manufacturing) services for loudspeakers and related products and components. Moreover, manufacturers of every component utilised in the assembly of driver units, woofers, and tweeters will be exhibiting there, as will driver assembly houses and turnkey system factories. Furthermore, this year’s show will also be playing host to cabinet factories, amplifier factories, and test equipment manufacturers.

Simply speaking, The Loudspeaker Sourcing Show sees manufacturers providing technical representation so that brand engineers and purchasing agents can identify the right manufacturer for their specific needs. Needless to say, the show itself is designed to create a level playing field for all industry sectors, serving up most — if not all — solutions necessary for brands to do business with suppliers by effectively eliminating all the ‘noise’ between brands and suppliers; so those with a vested interest in the ever-widening world of loudspeakers will have the opportunity to talk directly to highly-skilled suppliers and established service industry companies, saving months — if not years — of finding the right suppliers for their brands in the process. Put it this way: with shipping companies, packaging companies, legal advice, translators, and other service representatives all available at the show, there has never been a better attempt at providing complete supply chain management solutions.

Since such reassurances are already in place, is it any wonder, then, that The Loudspeaker Sourcing Show has steadily increased in size and scope since its inauguration in October 2015 as a multiple-day event attracting 384 attendees and 48 exhibitors representing 25 countries between them? The thankful Philip Richardson’s convincing conclusion clearly speaks volumes about a well executed show for all markets sectors that utilise audio speakers and related components and services: “We are thrilled that the show continues to grow in popularity around the world each year.”

The Loudspeaker Sourcing Show is being held at Nansha Grand Hotel Guangzhou (1 Shangmao Road, New Coast City, Nansha, Guangzhou, Guangdong Province, China) between October 16-18, 2018. International attendees must register separately for $30.00 USD via credit card or PayPal (using a secure connection through PayPal in the United States); Chinese attendees can pay RMB 200.00 CNY via ALIPAY. Exhibitor registration is $2,050.00 USD — not charged when registering since The Loudspeaker Sourcing Show organisers follow up to complete the registration fee process.

For more in-depth information, please visit The Loudspeaker Sourcing Show website here: http://www.loudspeakersourcingshow.com

Watch The Loudspeaker Sourcing Show host Philip Richardson’s informative introductory video here:


About The Loudspeaker Sourcing Show (www.loudspeakersourcingshow.com)
Conceived by husband and wife team Philip Richardson — owner of the Trueanalog Strictly OEM factory in Guangzhou, China (established to serve the international high-end and mid-fi driver and system industries) — and Mandy Tseng — daughter of the founder of Guangzhou, China-based T-yokes, top plates, and U-yokes specialist manufacturer Zeng Ben Industrial, The Loudspeaker Sourcing Show was created to connect qualified speaker component manufacturers (and related service companies) directly with businesses that need their services, without the use of a third-party representative.
© 2018 The Loudspeaker Sourcing Show