Friday, 27 July 2018

Spitfire Audio works with award-winning composer Samuel Sim to create instant scoring instrument in British Drama Toolkit

Spitfire Audio is proud to announce availability of British Drama Toolkit — created in close collaboration with award-winning British composer, musician, record producer, and songwriter Samuel Sim (famed for his quality, gritty, and deep television and film drama scores) as an inimitable instrument featuring an ensemble dedicated to capturing the emotionally potent sound he is lauded for, but also presenting a unique way of interacting with the players involved to allow users to compose, arrange, and complete a cue in one pass, thereby setting it apart from anything the high-quality virtual instruments- and sample libraries-creating company has produced to date.
Pursuing originality in music is one thing; trying to be constantly original in the pressured world of episodic television scoring is something else entirely. By brilliantly achieving both of those traits, talented composer Samuel Sim has won multiple awards as a writer of quality, gritty, and deep television and film drama scores. So, having previously worked with Spitfire Audio to realise his namesake SAMUEL SIM - CHRYSALIS library — launching a unique and inspirational sound set centred around a stunning, deep sampled studio harp, but bent into a collection of fresh sonic tools to critical acclaim in 2015, it is hardly surprising that he (re)turned to Spitfire Audio when wanting to create an instrument that put up no roadblocks between musical ideas and their realisation as ready-to-go cues.

 Watch Spitfire Audio’s touching trailer video for British Drama Toolkit here

Cue British Drama Toolkit — or British Drama Toolkit with Samuel Sim, to give it its full, highly-appropriate appellation… an instant scoring instrument in the true sense of the word, which provides the most instinctive, immediate, and intense connection to the heart of its user’s composition while helping them find their musical voice in the process. Playing styles that have not been sampled before, with bespoke bowing techniques and breathing patterns, converge to create textures full of dramatic movement. Meanwhile, those same notes, played at a different intensity, switch to characterful lead lines, passing from instrument to instrument in an ensemble that shifts dynamically as the user explores the radical results of this close collaboration.

 Watch fellow Spitfire Audio Director Christian Henson’s helpful
British Drama Toolkit contextual video here

Comprising a small string and woodwind section recorded in the purpose-built dry stage at Spitfire Audio’s London-based HQ, British Drama Toolkit clearly comes to life from the moment it is first played. Put it this way: when this library is at anyone’s fingertips then telepathy of sorts starts in earnest. Ensembles are mapped across the full length of the keyboard, and the playing styles are tied to velocity — from whispered textures through to bold solos. Saying that, British Drama Toolkit truly demonstrates an innate understanding of the fact that the difference between playing softly and loudly is not just simply down to volume, but also about character and emotion, enabling users to compose, arrange, and complete a cue in one pass. With an eye firmly fixed on the drama rather than the computer, and with one patch capable of such wide-ranging expression, users can respond instinctively to the story rather than getting sucked in to what Samuel Sim semi-seriously terms “…the vortex of the computer."

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ video walkthrough
of British Drama Toolkit here:
Clearly no stranger to the musical joy of working with emotive ensembles as a working composer himself, who better to provide some serious closing commentary as to the virtues of working with British Drama Toolkit, then, than Spitfire Audio Director Paul Thomson: “This is one of the ways that you can convince your director, for example, to spend the money on real musicians, because what you’re hearing here are these incredibly talented musicians playing in a really unique, stylistic, and unusual way, and what better than to have the real live players sitting, performing, and reacting to your music in real time while they do this. But if your budget doesn’t stretch to a full band of musicians, and you can only afford a few musicians, then that’s still going to give you a great result, and you're going to have these instruments to fill in the gaps, and while your ear is drawn to the live player, you have these beautiful textures floating in the background to help give your music much more depth.”
 
Director Christian Henson, fellow co-founder of Spitfire Audio, adds, “I’m incredibly excited about the British Drama Toolkit, which is designed by a drama media composer, Sam Sim, for us fellow media composers. It really is an amazing, inspiring, time-saving tool that can be used on a variety of different applications, but it has that kind of gritty, very emotional British drama feel to it. Basically, it’s a bunch of ensembles — some strings, some woodwinds — recorded here on our dry stage, but, instead of using controllers, it’s very much a two-handed thing, whereby different velocities give you different kind of degrees of intensity and movement.”

Musically speaking, the honesty and rawness of British dramatic scoring is ingrained in the British Drama Toolkit library. Lest we forget, though, this is not just a library that plays a composer’s music, but rather helps them compose it. Indeed, all it takes is ideas. Originality, of course, is optional, yet highly recommended… just ask its award-winning designer, Samuel Sim!
 British Drama Toolkit can be purchased and digitally downloaded for a time-limited introductory promo price of £149.00 GBP (inc. VAT)/$149.00 USD/€149.00 EUR (inc. VAT) until August 9, 2018 — rising thereafter to a RRP of £199.00 GBP (inc. VAT)/$199.00 USD/€199 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/british-drama-toolkit/

British Drama Toolkit 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, 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 some superb-sounding audio demos, please visit the dedicated British Drama Toolkit 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.

© 2018 Spitfire Audio Holdings Limited

Audified advances making sound mixing decisions with feature-packed MixChecker Pro plug-in providing more simulations

Having amassed widespread critical acclaim with its innovative MixChecker mix-assisting plug-in that transforms studio monitors into classic reference monitors or one of several consumer devices to quickly and easily ensure that studio mixes translate to other environments, host application and audio effects developer Audified is proud to announce availability of MixChecker Pro — advancing making sound mixing decisions still further featuring a user interface with the same elegance and ease of use as the original MixChecker but boasting a whole host of new features to simulate surroundings and devices, thereby allowing its users to try walking in the shoes (or even ears) of their listeners.

Anyone accomplished at mixing content for an audience is painfully aware of having to ensure that their mixes sound great when freed from familiar studio surroundings and let loose into the wider (listening) world. Which was exactly the thinking behind MixChecker upon its well-received release in 2016; clearly, consumers — the everyday people for whom that content is mixed — did not (necessarily) have access to high-end studio monitors, but more often than not used desktop speakers, tablets, and smartphones to satisfy their everyday listening needs, while watching TV and listening to music in the car remained routine; reality dictated, therefore, that best mixing practice involved ensuring that mixes were going to sound the best that they could on a wide range of different devices that sounded so wildly different by their very nature, and not just on high-end studio monitors. MixChecker made that possible by transforming studio monitors into classic reference monitors or one of several consumer devices at the press of a (virtual) button. And all without having to leave the so-called studio ‘sweet spot’ — a term used by audiophiles and recording engineers to describe the focal point between two speakers, where an individual is fully capable of hearing the stereo audio mix the way it was intended to be heard by the mixer; in reality, the sweet spot is the location which creates an equilateral triangle together with the stereo loudspeakers.

But before MixChecker’s timely arrival, the tried-and-tested way to (physically) check a mix involved having to waste time and energy exporting it to a smartphone or burning a CD to listen in a car or elsewhere before going back into the studio to tweak as appropriate, all the while facing the distinct possibility of having to repeat the tiresome process time and again. As an altogether more convenient and clever software solution, MixChecker can perform a quick round of tests in only a matter of seconds, allowing users to get on with the task in hand — making mixing corrections at a (key)stroke, still fresh from knowing what the problem in the mix actually was! Wisely, MixChecker took all the pain out of checking mixes. Mission accomplished!


Fast forward to today, though, and — as implied by name — MixChecker Pro places a whole host of new features to simulate surroundings and devices at the fingertips of its users, ultimately advancing making sound mixing decisions still further; fortunately for all, it features a user interface with the same elegance and ease of use as the original MixChecker, but professionally polishes that convenient concept claimed by its predecessor to reach a whole new level of perfection in the process.

Put it this way: with MixChecker Pro, everything is new! Numerous new (self-explanatory) Simulations of various devices are available, categorised (and grouped) as follows: Studio (Studio 4” Vintage, Studio 5” Modern, Studio 6” Modern, Studio 7” Vintage, Studio 5" Vintage, Studio Cube); Live Sound/PA (PA Disco Pool, PA Disco Stage, PA Cheap Satellite, PA Club Engineer, PA Club Near, PA Club Center, PA Cheap Full-Range); Computer Audio (Desktop 2” Black, Desktop 3” Wooden, Desktop 3” Red, Desktop 5” Black, LCD Screen 24”); TV (TV 24”, TV 37”, TV 22”, TV 32”); Laptop Speakers (Laptop 12” Grey, Laptop 13” Silver, Laptop 15” Black, Laptop 15” Silver); Tablet (Tablet 9” Grey, Tablet 9” Golden, Tablet 7” Black); Smartphone (Phone 5” Grey, Phone 4” Black, Phone 5” Silver, Phone 5” White); In-Ear Headphones (Earplugs White, Earplugs Black, Earplugs Grey, Earplugs Iso Black); On-Ear Headphones (Studio 30mm Silver, Studio 40mm Black, DJ 40mm Black, DJ 40mm Red, DJ 50mm Red, HiFi 35mm Black, HiFi 40mm Grey, Studio 45mm Silver, HiFi 40mm Silver, Studio 40mm Blue, Studio 40mm Yellow, HiFi 50mm White); Car Audio (Combi Driver, Combi Co-driver, Sedan Driver, Sedan Co-driver, Sedan Passenger, Minivan Driver, Minivan Co-driver, Minivan Kid); Radio (Bluetooth Speaker, Small Radio Silver, BoomBox Silver, Smart Home Speaker, Small Radio Black); HiFi (HiFi Micro Silver, HiFi Micro Black, HiFi Mini Silver, HiFi Floor-stander). Seamless switching between those devices is perfectly possible with MixChecker Pro — perfectly in keeping with its professional nomenclature, thanks to the overall gain of all devices being normalised to the same objective loudness using an algorithm derived from the LKFS (Loudness, K-weighted, relative to Full Scale) loudness standard designed to enable normalisation of audio levels for delivery of broadcast TV and other video (as standardised in ITU-R BS.1770-3).

Similarly, (self-explanatory) simulated environments also abound in MixChecker Pro — namely, Exterior Street 1, Exterior Street 2, Exterior Park 1, Exterior Park 2, Exterior Playground, Exterior Station 1, Exterior Station 2, Exterior Subway, Interior Bar, Interior Bus 1, Interior Bus 2, Interior Car 1, Interior Car 2, and Interior Mall.

MixChecker Pro not only obviously features far more Simulations than MixChecker, it also advances the science powering them. The original MixChecker only simulates the linear behaviour of the devices, whereas MixChecker Pro not only adds the modelling of nonlinear behaviour but also completely rewrites the original signal processing code to achieve phase linearity, lower latency, and better resolution in all parts of the frequency spectrum. Therefore, the linear part of the model uses transfer function modelling by fixed-pole parallel filters that are based on a dual-band warped filter design using a warped frequency scale so the frequency resolution of the model takes into account the frequency resolution of the auditory system, while the dual-band design brings even more precise modelling at low frequencies without reducing precision at high frequencies. Furthermore, the parallel structure of 2nd-order minimum-phase filters enable extremely low latency, minimal phase distortion, and high stability.

Saying that, the nonlinear part of the model uses a proprietary model based on the Wiener model but extends it to introduce dynamic nonlinearity and frequency-dependent nonlinearities while maintaining low CPU (Central Processing Unit) load. This extended model makes use of technology that maintains constant energy of the output signal for all distortion levels to allow for simulation of Distortion produced by the chosen device at a higher SPL (Sound Pressure Level) without increasing the SPL produced by the user’s studio monitors. More significantly, this also protects studio monitors against mechanical damage. Distortion level is calibrated in real SPL measured at a distance of 1m in free field, while all characteristics of the devices used for identification of model parameters were measured using Audio Precision’s APx525 audio analyzer (for R&D engineers and production technicians who want fast and easy audio testing) with acoustic option in an anechoic chamber; headphones, however, were measured using a Brüel & Kjær Type 4128-C HATS (Head And Torso Simulator) system (designed to provide realistic reproduction of the acoustic properties of an average adult human head and torso, therefore ideal for performing electroacoustic tests on headphones in situ). Speaking of which, with MixChecker Pro it is even possible to add some audio background noise with adjustable volume; when selecting Simulations of headphones, for example, the path of the noise through the headphones and ears is simulated, so the user hears a realistic combination of the mix playing from the headphones and also outside noise coming through the headphones!

High-flying technicalities aside, MixChecker Pro is as easy to use as the original MixChecker. Thanks to a new Edit mode, accessing all those new features is a breeze. By entering Edit mode, users can quickly assign any simulated device to any device button, set the Distortion amount for that exact device, and adjust the Stereo Base width, as well as the Volume of the device. Since simulated devices are organised in categories, super-fast searching is intuitive. Devices duly set, users can close Edit mode and MixChecker Pro works just like its MixChecker predecessor, placing many (more) mix-checking options only a keystroke away. And MixChecker Pro kindly comes complete with web browser, mobile phone, or tablet control, so users are free to walk around their studio space while checking their final mix — more than living up to MixChecker Pro’s highly-appropriate appellation.


MixChecker Pro is available to purchase at $199.00 USD from Audified’s online shop here: https://shop.audified.com/products/mixchecker-pro (Note MixChecker Pro requires iLok License Manager 3.1.6 or newer as it is protected by PACE Anti-Piracy Inc.’s software machine license or USB smart key device, details of which are highlighted here: https://shop.audified.com/pages/how-to-activate-ilok-license)

MixChecker Pro can be directly downloaded as a multi-format (AAX, AU, VST2, VST3), 32- and 64-bit native plug-in for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a fully-functional, 30-day trial version — from Audified here: https://services.audified.com/download

For more in-depth information, please visit the dedicated MixChecker Pro webpage here: https://shop.audified.com/products/mixchecker-pro

About Audified (www.audified.com)
With more than 20 years of R&D, education, and collaboration connected with its notable name (https://shop.audified.com/pages/history), Audified actively develops software applications, software effects, and hardware processors for musicians, audio engineers, and installed audio. As such, the company’s collective vision is to improve and streamline music production workflow, adding a new aesthetic value to their customer’s work while helping them to achieve the best possible results.
© 2018 Audified s.r.o.

Saturday, 21 July 2018

Living Memory Software has released LayR Version 1.3 to the App Store.


Living Memory Software has released LayR Version 1.3 to the App Store.

 


 
This release fixes all known bugs and introduces a new feature: The Macro.

The Macro Panel is a level above the instrument mixer and is used for globally adjusting parameters in the entire multi-instrument Performance, taking LayR's MIDI control to a whole new level.

We have also uploaded a set of tutorials to our YouTube channel where you will find a video dedicated to explaining the new Macro feature.

Changes / New Features:

⁃ Macro Control Panel: A new panel for changing assigned synth parameters globally across an entire
performance.
⁃ Link Assign Panel now has an extra section for assigning Layer parameters to Macro controls.
⁃ You can now assign any MIDI controller to Instrument Volume Sliders. ( defaults to cc 7 ).
⁃ Load Preset panel now updates it’s selection if a MIDI bank or program change is received while it’s visible.
⁃ New option in settings: Don’t Start Voices When Volume is Zero: Prevents voices being started if Instrument or
Layer volumes are zero.
⁃ New option in settings: “Multi Out: FX Only in Stereo Output”, converts the IAA Stereo Mix output to an effects
return if any of the 8 aux audio outputs are in use.
⁃ Dials will now always show at least 1 degree of coloured arc unless their value is equal to zero.
⁃ Increased fall time for peak hold metering in master strip.
Updated PDF manual.


Bug Fixes:
⁃ Fixed a common crash during audio unit initialisation.
⁃ Fixed crash when long pressing on A to B range buttons.
⁃ Fixed: Potential crash when saving performances if poly aftertouch is assigned.
⁃ Fixed: Audio Unit now respects all persistent preferences set in the IAA app.
⁃ Fixed an audio spike when an AU is loaded in a certain state from a host. Could cause a loud reverb explosion.
⁃ Fixes a rare problem where an AU host could start to load a preset before the Audio Unit had completed
initialisation.
⁃ Fixed: Current bank is now properly set when selecting a bank in the load preset panel.
⁃ Fixed a state where MIDI controller values for the CC Mixer would fail to be loaded from a saved preset.
⁃ Fixed: UI crash when tapping on AB-Range modifier tempo button after previously setting time to maximum
( 100s ).

 

This synth is deep specially considering it's on iPad. take your time investigating it.
Be sure to check the numerous youtube demo videos Living Memory Software kindly made available.

Here's Layr pdf manual in case you wanna have a look. Cheers 


Living Memory Software Layr website link.
http://livingmemorysoftware.com/layr.html

Monday, 16 July 2018

MODE MACHINES make matrix-style sequencing truly tactile with SEQ12 ANALOG AND MIDI SEQUENCER


Innovative electronic musical devices brand MODE MACHINES is proud to announce availability of its SEQ12 ANALOG AND MIDI SEQUENCER — a multi-channel MIDI (Musical Instrument Digital Interface) step sequencer in a truly tactile, tabletop (rack-mountable) console-type housing that lends itself to creating and arranging pattern-based music as a live performance-capable standalone sequencing tool or working alongside a DAW (Digital Audio Workstation) to enhance production possibilities.
As implied by the 12 TRACK MATRIX SEQUENCER ‘subtitle’ boldly blazoned across its expansive top panel — pressed into play by the 12-line (and 16-column) arrangement of (red) backlit LED (Light Emitting Diode) buttons that musically mark out the namesake matrix laying claim to the majority of that top panel, the SEQ12 ANALOG AND MIDI SEQUENCER is a 12-track affair, with each track arranged numerically below the next in the matrix. More meaningfully, each track can freely address one of three MIDI outputs (OUT 1, OUT 2, and OUT 3) to ensure optimal timing (by avoiding serial chaining of connected MIDI devices) and additionally be assigned to one of three track types: MONO (monophonic) — plays only one note per step (sending note, velocity, and note length) and offers three controller tracks (C1, C2, C3); POLY (Polyphonic) — plays back multiple notes per step (sending note, velocity, note length, and chord) and offers two controller tracks (C1, C2); and DRUM — optimized to address drum machines (or similar) with the matrix forming a pattern where each line can be set to transmit a definable note to 12 so-called subtracks (with adjustable velocity and accented notes) from within a single track with two controller tracks (C1, C2)… 12 different drum sounds can be arranged from a single track, in other words.
Watch MODE MACHINE’s SEQ12 ANALOG AND MIDI SEQUENCER intro video:
While the term step sequencing can conjure up mesmerizing musical images of repetitive note patterns pioneered and popularized by the likes of Germany’s homegrown Kraftwerk and Tangerine Dream in their heyday — the likes of which the SEQ12 ANALOG AND MIDI SEQUENCER of course can capably emulate, even down to the latter’s ‘trademark’ ratchet effect (of outputting multiple triggers per step) but bettered by enabling easy creation of rolls, flams, and comparable complex rhythmical functions courtesy of six selectable trigger patterns and a note value to adjust the length of the trigger pattern, there is so much more to this truly tactile step sequencer than might meet the (untrained) eye… eye-catching as all of those 192 flashy (red) backlit LED buttons already are!
Although the SEQ12 ANALOG AND MIDI SEQUENCER is at heart a pattern-based step sequencer that generates MIDI data, multiple modes make it stand out from the sound of the (step sequencing) crowd — to partially paraphrase the early-Eighties British breakthrough hit from synth-pop pioneers The Human League, no strangers to the lure of spellbinding step sequencing themselves.
The self-explanatory SEQ mode is used to program a sequence — the smallest ‘unit’ within the SEQ12 ANALOG AND MIDI SEQUENCER  (containing up to 16 steps) — using the matrix or an external MIDI input device, such as a master keyboard controller connected via the single MIDI IN (input). 16 sequences per track can be stored with parameter values such as velocity, controllers, or step length displayed as backlit LED (button) bars in the matrix.

Meanwhile, JAM mode makes live performance pleasurable and also inspirational with the SEQ12 ANALOG AND MIDI SEQUENCER. This time the matrix displays 12 tracks with 16 sequences each, all of which are freely switchable on the fly for immediate playback while the function buttons to the left of the matrix mute and activate the corresponding 12 tracks. And assuming that the tracks are tasked with handling different musical parts — playing a melody with track 1, a bass line with track 2, chords with track 3, and drums with track 4, for example — then it is perfectly possible to create a song on the fly. Flexibility further abounds since switching from JAM mode to SEQ mode only involves a couple of (almost instant) clicks; once there, users can, likewise, edit the selected sequences on the fly.
Finally, SONG mode is where the SEQ12 ANALOG AND MIDI SEQUENCER sings for its supper, so-to-speak, allowing for the creation and playback of longer and more complex arrangements or even full songs. Each track is allocated an individual series of up to 64 sequences (or sequence chains in ‘SEQ12-speak’). Still better, there are 12 sequence chains — one for each track; these combine to create a part, with the SEQ12 ANALOG AND MIDI SEQUENCER storing up to eight parts. Parts can also be changed on the fly while the sequencer is running, so, given that those parts could effectively equal song parts, users could choose from, say, an intro, verse, bridge, chorus, or outro, each of which could be called up to be played anytime.
All data that can be changed by the user — namely, sequences, parts, and sequence chains, as well as global settings (with further visual guidance coming courtesy of an informative backlit LCD working in conjunction with various clearly labelled control functions) — is stored as a setup. The SEQ12 ANALOG AND MIDI SEQUENCER stores up to 32 setups. So it is ready and willing to be put through its interactive musical paces onstage or in the studio, thanks to its robust rack-mountable (19-inch/6 HE) design that also includes rubber feet for non-slip tabletop usage.

Ultimately, then, the truly tactile SEQ12 ANALOG AND MIDI SEQUENCER surely ranks as an ultimate pattern-based step sequencer, limited only by its user’s imagination rather than ‘traditional’ step sequencing’s limited note pattern repetition. Reach out and touch… as Depeche Mode sang on their way to sequencer-driven superstardom!

The SEQ12 ANALOG AND MIDI SEQUENCER is available to purchase directly from MODE MACHINES’ online SHOP
(https://www.modemachines.com/shop) at an introductory promo price of €999.00 EUR (inc. VAT) or through MODE MACHINES’ growing global network of authorised dealers (https://www.modemachines.com/where-to-buy).

For more in-depth information, please visit the dedicated SEQ12 ANALOG AND MIDI SEQUENCER webpage here: https://www.modemachines.com/seq12
About MODE MACHINES (www.modemachines.com)
MODE MACHINES was founded in 2010 by Michael Thorpe as an innovative brand for synthesizers, filters, and other electronic musical devices. Its inventive origins can be traced back to 1993 and an association with Touched by Sound, the first vintage dealer in Germany. Having worked with many MI (Musical Instrument) brands along the way — MAM Music and More (famed for its MB33 Analog Retro Bass Synthesizer), Stanton Magnetics, HDB electronic/VERMONA, and more, today its employees are all active musicians and DJs, dedicated to making instruments for musicians from musicians. All are always happy to receive feedback from current customers and like-minded individuals alike.
© 2018 MODE MACHINES   

Sunday, 8 July 2018

Eventide and Newfangled Audio raise mastering bar with two new plug-ins for Elevate Bundle 1.5

Recording technology trailblazer Eventide and advanced audio tools creator Newfangled Audio are proud to announce availability of Elevate Bundle 1.5 — adding value to an already valuable bundle with the addition of two new plug-ins, Saturate and Punctuate, as well as feature improvements to EQuivocate and Elevate itself.
Saturate is a spectral clipper plug-in, useful for mixing or mastering. As such, it adds up to 24dB of drive with a variable CLIPPER SHAPE parameter that moves from a pleasant soft curve to full hard clipping. Unique spectral processing maintains the tonal balance of the distorted signal, no matter how hard it is pushed. Saturate automatically compensates output level based on the DRIVE control or, alternatively, allows this to be controlled manually.
Meanwhile, as a transient emphasis plug-in, Punctuate is also useful for mixing or mastering. Musically speaking, it offers up to 26 auditory bands of TRANSIENT EMPHASIS or suppression while its unique ADAPTIVE TRANSIENT and ADAPTIVE LENGTH controls allow algorithms to tailor each band’s transient shaper to what the listener’s ear wants to hear. Helpfully, customizable parameters for each band also allow users to tweak the result, if needed.
The Elevate Bundle 1.5 update also brings several feature improvements to the original pairing of EQuivocate, an Auditory Graphic EQ based on the critical bands of the human ear, and its Elevate namesake, a unique multi-band limiter, human ear EQ, and powerful audio maximizer first released late last year as the most advanced mastering plug-in ever created.
EQuivocate benefits from a new RANGE feature, allowing users to scale or invert the total dB range for the EQ in order to change the total amount of EQ applied after setting the individual bands. This also allows users to scale the range of the MATCH EQ before and after it has been set. Additionally, each band benefits from enable buttons to easily turn bands on and off for better workflow with improvements implemented elsewhere also assisting.
Essentially, Elevate adds true peak limiting, preventing final masters from clipping during reproduction and ensuring compatibility with all broadcast standards.


Elevate Bundle 1.5 (comprising the Elevate, EQuivocate, Punctuate, and Saturate AAX/AU/VST plug-ins for Mac OS X 10.7+ and Windows 7+) is available through Eventide and authorised dealers at a promo price of $139.00 USD through to September 5, 2018 (rising thereafter to a regular price of $199.00 USD). Owners of EQuivocate can upgrade to Elevate Bundle 1.5 for $99.00 USD through to September 5, 2018 (rising thereafter to a regular price of $149.00 USD). Owners of Elevate can upgrade to Elevate Bundle 1.5 for free at anytime.

For more in-depth information, please visit the dedicated product webpage here: http://www.eventideaudio.com/elevate
About Newfangled Audio (www.newfangledaudio.com)
Newfangled Audio was started by Dan Gillespie after 15 years of writing DSP code for Eventide. By combining traditional signal processing techniques with advances in the field of machine learning the forward-thinking startup is creating the best-sounding audio tools available.

© 2018 Newfangled Audio

Doepfer harnesses dark energy for third time with effectively enhanced monophonic analogue standalone synth namesake

Having wowed North American audiences with a preproduction prototype at The 2018 NAMM Show in Anaheim, CA, then turned heads and opened European ears with a must-see showstopper closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designers Doepfer Musikelektronik is proud to announce availability of the Dark Energy III Analog Synthesizera worthy successor to its critically-acclaimed desktop Dark Energy II monophonic analogue standalone synthesizer with wide-reaching CV (Control Voltage)/Gate, MIDI (Musical Instrument Digital Interface), and USB (Universal Serial Bus) connectivity that it effectively enhances.
Like its Dark Energy II predecessor, released to widespread critical acclaim back in 2012, Dark Energy III is a desktop monophonic analogue standalone synthesizer with wide-reaching CV/Gate, MIDI, and USB connectivity. Continuing that intriguingly-named lineage, likewise, Dark Energy III’s sound generation and all modulation sources are 100% analogue, with only its inbuilt MIDI/USB components entering the digital arena (as is obviously necessary, naturally). Needless to say, everything is built into a rugged black metal case with wooden side plates, while high-quality potentiometers with metal shafts are used; ultimately, each potentiometer is mounted firmly to the chassis, so no wobbly shafts and knobs — unlike some cheaply-constructed competing (non-Doepfer) designs. Dark Energy III is, indeed, essentially an enhanced version of Doepfer’s desktop standalone synthesizer so central to the company’s product line for so long, but boasts several notable differences.

Notably — not least audibly, although also apparent from the front panel’s waveform Shape switch labelling, a triangle Shape waveform is now central to the VCO (Voltage-Controlled Oscillator) core, which now no longer requires a warmup period for optimal operation over a 10-octave frequency range (with 1V/Oct tracking over at least eight octaves).
On top of that, there are now separate Reset LFO1 and Reset LFO 2 Inputs for the two resettable LFOs (Low Frequency Oscillators). These sockets synchronise both LFOs to external gate signals, so when a gate signal of +5V (or higher) is applied at a socket then its positive ramp sets the corresponding LFO wave shape to zero and the LFO restarts with a rising ramp.

All analogue synthesizers use a VCA (Voltage-Controlled Amplifier) to dynamically control loudness (or volume); Doepfer’s Dark Energy III design differs from its predecessor — and also many other analogue synthesizers — by virtue of its VCA having a linear control scale, so lends itself to scaling control voltages.

Several signal routings and functions are additionally available to any adventurous ‘Doepfer DIY’er’ willing and able to modify Dark Energy III’s front panel sockets by removing jumpers and rewiring the pin-headers for the VCO PW, Reset LFO1, Reset LFO2, and VCA Inputs. For example, the VCO PW input can be converted into a linear FM input, or LFO/ADSR signals can be used as outputs instead of one of the resettable LFO inputs. Indeed, (almost) anything is possible, including various VCO outputs (triangle, sawtooth, rectangle); VCO hard sync input; VCO soft sync input; various VCF outputs (lowpass, highpass, bandpass); various LFO outputs (triangle, rectangle); ADSR output; and two inverters with input/output (to invert any signal, such as ADSR or LFO).
Effective enhancements notwithstanding, the favoured filter found in Dark Energy II remains unchanged in Dark Energy III. Indeed, its sound-defining VCF (Voltage-Controlled Filter) is centred around a 12dB multimode filter with lowpass, notch, highpass, and bandpass settings, together with a filter Mode control for continuous transition from lowpass via notch and highpass around to bandpass; its XFM (Exponential Frequency Modulation) control also has a polarization function, whereby the modulation source (LFO2 or ADSR) selected by the Source switch can affect the filter frequency with a positive or negative behaviour (by rotating rightwards or leftwards, respectively).
Meanwhile, mounting of two or more Dark Energy — original, II, and III — units is possible, with or without wooden side plates between them. Though there is still not sufficient space to accommodate a dedicated MIDI output socket on the Dark Energy III rear panel, it is still possible for those adventurous ‘Doepfer DIY’ers’ to link two or more Dark Energy — original, II, and III — units via MIDI out/MIDI in using the two pin-headers available at the supply/interface board mounted at the rear panel. (Fortunately for them, Doepfer has helpfully posted a downloadable document with additional technical information here: http://www.doepfer.de/pdf/Dark_Energy_III_technical_information.pdf.)
Put it this way: with Dark Energy III, Doepfer delivers another effective enhancement of a highly-capable monophonic analogue standalone synthesizer, continuing to make its musical mark with a compact desktop design dating back to 2010 (when wowing audiences around the world with its original Dark Energy entry).

Ending on a high note, who better to tender tasty food for thought, then, than Doepfer Musikelektronik CEO Dieter Doepfer, the esteemed electronic musical devices designer who lends his notable name to the renowned company and has been known to look beyond our world for inspiration: “Dark Energy III is not a tool for space research, neither is it suitable for studies in astrophysics. Yet, we find these topics as fascinating as music technology — reason enough to celebrate ‘Hubble & Co.’s amazing discoveries a bit and call our brand-new synthesizer Dark Energy III.”

In Germany, Dark Energy III can be ordered online from Doepfer Musikelektronic GmbH (http://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €479.00 EUR. (An optional user-installable Glide control kit — containing a prewired potentiometer with two nuts and a Dark Energy-style rotary knob — is available for €10.00 EUR.)

Outside Germany, Dark Energy III can only be ordered from Doepfer dealers in territories listed here: https://docs.doepfer.eu/en/ (That said, residents in countries without representation can order directly from Doepfer Musikelektronic GmbH.)

For more in-depth info, please visit the dedicated Dark Energy III webpage here: http://www.doepfer.de/Dark_Energy_III_e.htm
About Doepfer (www.doepfer.com)
Doepfer Musikelektronik CEO Dieter Doepfer began building electronic musical devices in 1979 with a voltage-controlled phaser module for the Formant modular synthesizer, a Moog modular system-style DIY kit documented as a series of articles in Elektor magazine; moving onwards and upwards, he then began developing devices under his own name, including the classic MAQ16/3 MIDI ANALOG SEQUENCER (in close collaboration with German techno-pop pioneers Kraftwerk), and subsequently spearheaded an analogue renaissance with the MS-404 MIDI ANALOG SYNTHESIZER in 1995: “It was such a big success, it opened the door to the A-100. We designed a lot of stuff for Kraftwerk, and they wanted everything in silver. So, when we started with the modular system, since we had such a strong relationship at that time with Kraftwerk, and everything was silver, we made it silver!” Kraftwerk’s Kling Klang studio that toured throughout 1998 laden with distinctive silver-grey Doepfer devices like the super-sized SCHALTWERK MIDI TRIGGER SEQUENCER and REGELWERK MIDI FADER CONTROLLER had a lot to answer for! Today, Doepfer’s diverse range of products — also available in black! — encompass USB/MIDI interfaces, master keyboards, sequencers, synthesizers, and more; musically, the Graefelfing-based German company counts such synth luminaries as Hollywood hotshot Hans Zimmer and stadium superstars Depeche Mode amongst its global user base. Better still, the A-100 ANALOG MODULAR SYSTEM remains the most compact, affordable, and flexible such system ever produced with over 125 of those still-silver-grey modules in the range… more are (always) on the cards, including some soon-to-be-released polyphonic modules. Meanwhile, the so-called Eurorack small-format modular system popularised by Doepfer has mushroomed to industry-standard status with hundreds of third-party manufacturers — both bigger and smaller — making compatible modules.

© 2018 Doepfer Musikelektronik GmbH

Friday, 29 June 2018

Accusonus releases the ​ERA-BUNDLE​​: a collection of single-knob plugins for ​human-friendly audio repair

Accusonus Inc. developers of music software tools based on artificial intelligence technology, makers of critically-acclaimed software and plug-ins such as drumatom, Regroover and Beatformer announce the immediate release of the ERA-Bundle.

 The Enhancement and Repair of Audio (ERA) Bundle is a collection of multi-patented audio repair plugins that offer both fast and high-quality processing. With this release, accusonus update their critically-acclaimed ERA Noise Remover (former ERA-N) and Reverb Remover (former ERA-R) plugins. The updated ERA Product Line introduces various user experience improvements, including an auto-gain function for ERA Reverb Remover and a vector-based and Retina-ready UI with 3 zoom levels. In addition, accusonus release (1) the ERA De-Esser that automatically detects and reduces excessive sibilance with the turn of a simple dial and (2) the ERA Plosive Remover the single-knob tool that instantly fixes unnatural plosive thumps (such as "p", "t" and "b"). ERA-D, the joint de-noise and de-reverberation plugin for post-production professionals is also updated, offering unique features such as the dual microphone workflow and the spectral band processing.


“The importance of audio content is increasing and we are committed to make our audio repair tools fast, simple and accessible to everyone” says Alex Tsilfidis, CEO of accusonus. “With this new release, we are harnessing the power of modern algorithms to create products that can achieve exceptional results in a fraction of the time”.
 

The ERA Bundle Standard includes the following products:
  • ERA Noise Remover (formerly ERA-N - Updated)
  • ERA Reverb Remover (formerly ERA-R - Updated)
  • ERA De-Esser (New)
  • ERA Plosive Remover (New)

The ERA Bundle Pro includes the following products:

  • ERA Noise Remover (formerly ERA-N - Updated)
  • ERA Reverb Remover (formerly ERA-R - Updated)
  • ERA De-Esser (New)
  • ERA Plosive Remover (New)
  • ERA-D (Updated)

ERA Bundle Videos:

Grammy-Winning Post Production Engineer James Twomey on using the ERA Bundle


ERA Noise Remover Presentation


ERA Reverb Remover Presentation


ERA De-Esser Presentation


ERA Plosive Remover Presentation


Price and Availability

ERA Bundle Standard (Noise Remover, Reverb Remover,De-Esser, Plosive Remover)
AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win Intro price: $99 (Reg: $236) -until July 31st-
ERA Bundle Pro (Noise Remover, Reverb Remover, De-Esser, Plosive Remover, ERA-D)
AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win Intro price: $299 (Reg: $535) -until July 31st-
ERA Noise Remover  AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win $59
ERA Reverb Remover  AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win $59
ERA De-Esser  AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win $59
ERA Plosive Remover  AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win $59
ERA-D  AU, VST, AAX 64-bit Mac & VST, AAX 64-bit Win $299

Product page:
https://accusonus.com/products/audio-repair/era-bundle-standard
https://accusonus.com/products/audio-repair/era-bundle-pro


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 is based in Massachusetts (USA) and in Athens/Patras Greece.

Monday, 25 June 2018

Avantone Pro brings ‘back’ to market much-loved nearfield studio monitoring mainstay with closely-matched CLA-10™



Affordable high-quality audio products producer Avantone Pro is proud to announce availability of its CLA-10™ classic studio reference monitor — manufactured as a full-range, two-way passive pair for fixed or remote locations while also accurately recreating an iconic studio monitoring mainstay, much loved in the music industry among pop and rock recording engineers to this day as a valuable mixing tool with which to reveal shortcomings in recordings .

Times change, as does technology. That being said, today’s newly developing age of high-definition audio does not necessarily negate recording shortcomings. Studios still primarily use two- or three-way large monitors designed to represent a wide range reference viewpoint at higher listening levels and there is still a need to hear what a mix will sound like when played back over small systems, such as car stereos, clock radios, computer speakers, and televisions. Indeed, it is important to make mixing judgements based on listening to reference monitors that will not impart tonal anomalies caused by crossovers or inferior full-range drivers. Paying particular attention to the critical midrange vocal/guitar/keyboard areas is always advised.

As such, over a year of R&D (Research & Development), comparative listening, and tweaking went into voicing Avantone Pro’s CLA-10™ while working in close collaboration with five-time GRAMMY® Award-winning mix engineer Chris Lord-Alge — hence having his signature grace the finished, familiar-looking cabinet. The result is a very accurate recreation of an iconic studio monitoring mainstay, much loved in the music industry among pop and rock recording engineers to this day (despite discontinuation of the original product in question back in 2001). Much more recently, listening tests in studios show that recording engineers accept the CLA-10™ as a transparent replacement — just ask Chris Lord-Alge, an assuredly talented and incontrovertibly impressed individual, as evidenced by his following flattery: “I put my mixing reputation on these great speakers… I am mixing on them as I write this.”

The CLA-10™ clearly meets its engineering and performance objectives, attributed, in part, to a 10.4-litre sealed design cabinet constructed of non-layered, high-rigidity MDF (Medium-Density Fibreboard) — chosen for its natural low-resonance characteristics — finished with an outer layer of real wood veneer. Visually and tonally fusing the past with the present, Avantone Pro utilised the latest in FEA (Fine Element Analysis) modelling to achieve its custom-designed 180mm AV10-MLF low-frequency driver based on paper cone construction with ‘old-school’ speaker design artistry, thanks to the finest pulp material that performs as closely as possible to the original by being press formed rather than die cut for tonal consistency. Cloth surround material is made in Japan for added authenticity and has unique damping characteristics, enabling a predictable compliance over the lifespan of the driver. Avantone Pro’s custom-tooled frame supports the driver/cone combo to minimise mechanical transfers while the 35mm AV10-MHF high frequency silk dome-based tweeter is as close a match to the original as can be made, making for both a frequency (60Hz - 20kHz) and voicing match to the classic sound so admired by the likes of Chris Lord-Alge — hardly surprising since those aforesaid AV10-MLF and V10-MHF critical components have been extensively field-tested in top LA and NY studios to universal acclaim as drop-in replacements for both Avantone Pro’s own CLA-10™ and also the iconic studio monitoring mainstay it recreates so accurately.


 Watch five-time GRAMMY® Award-winning mix engineer Chris Lord-Alge’s
compelling CLA-10™ introductory video 

Anyone seeking a transparent replacement for their much-loved nearfield studio monitoring mainstay as a valuable mixing tool with which to reveal shortcomings in recordings should seriously consider investing in Avantone Pro’s CLA-10™. Clearly its sound should be as familiar as the distinctive looks it also accurately recreates. Indeed, its (381.5mm x 215mm x 197.5mm) cabinet dimensions and (6.3kg) weight will make transitioning to the carefully crafted CLA-10™ when waving goodbye to the ‘dearly departed’ seem seamless. Some studio visitors may even do a double take when told that the same speaker stands or console bridge boast new classic studio reference monitors!

 The CLA-10™ arrives at Avantone Pro’s US Dealers (http://www.avantonepro.com/us-dealers.php) in August 2018, priced at $699.00 USD per pair. (Worldwide Distributors are listed by country here: http://www.avantonepro.com/worldwide.php) 

 For more in-depth information, please visit the dedicated CLA-10™ webpage here: http://www.avantonepro.com/cla-10.php

About Avantone Pro (www.avantonepro.com)

 As a producer of affordable, high-quality microphones, studio monitors, and accessories, Avantone Pro is a different kind of audio company — a creative vehicle, in effect, enabling its core team to bring to market the things viewed as missing in the industry. Indeed, this could be anything as simple as meeting a particular price point to give excellent quality for reasonable pricing to a product that simply does not exist until built by that team. Far from using the shotgun approach to creating a product line, however, each and every product produced has passion and purpose driving it forward. Regardless of whether attracting a two- or four-figure price tag, attention to design is consistent throughout all Avantone Pro products. Performance comes first, of course, but a great deal of design time is spent creating visually attractive products. Put it this way: the company collectively enjoys classic, timeless designs itself; it is convinced, therefore, that others feel the same way! With its microphones and monitors used in studios around the world — whether within home-based project setups or world-renowned multi-million-dollar facilities, Avantone Pro is sensitive to the real-world operating budgets of bigger and smaller studios alike but also appreciates struggling songwriters/artists who are passionate about creating great music yet must adhere to budget limitations based on common sense spending. Since it strives to offer products that anyone would be proud to own and have long-term use of in the quest for creating great music, even those on a budget can comfortably access Avantone Pro’s world-class sound.
© 2018 Avantone Pro   

Wednesday, 20 June 2018

NUGEN Audio announces new website with new music production and post-production bundle launches

Modern tools for today’s production environments developer NUGEN Audio is proud to announce its new website (www.nugenaudio.com) with the launch of six new bundles — Focus, Modern Mastering, NUGEN Producer, Loudness Toolkit, NUGEN Post, and Surround Suite — specifically designed to deliver their respective proprietary algorithms in inspiring, workflow-enhancing combinations for music and post-production engineers.

In total, there are three new bundles aimed at music production: Focus features three award-winning plug-ins, proffering precise stereo positioning (Stereoplacer), reliable, full-frequency stereo widening and enhancement (Stereoizer), and essential bass management (Monofilter); Modern Mastering makes mastering with confidence and precision in today’s world of digital consumption through music streaming services an effortless experience, thanks to three perfectly positioned plug-ins, including an intelligent look-ahead brick-wall limiter that provides highly-transparent True Peak limiting (ISL), a streaming service auditioning and metering toolset (MasterCheck), and comprehensive audio analysis utility (Visualizer); NUGEN Producer delivers deeper control over full production workflow with eight plug-ins, including the previously-mentioned MasterCheck Pro, Monofilter, Stereoizer, and Stereoplacer, and Visualizer bolstered by a mono and stereo audio production version of ISL (ISL st), a modular signal modification utility plug-in (SigMod), and a linear phase spline ‘Match & Morph’ EQ for mono and stereo audio production (SEQ-ST).

Similarly, there are three new bundles aimed at post-production: Loudness Toolkit is the leading workstation solution for loudness compliant delivery with three products working in concert to deliver unsurpassed quality and workflow efficiency, comprising an automatic, quick-fix compliance plug-in (LM-Correct — now updated to include the DynApt dynamics extension) and an industry-standard loudness metering plug-in/standalone application (VisLM) alongside the aforesaid intelligent look-ahead brick-wall limiter (ISL); NUGEN Post is an uncompromising collection of 11 plug-ins for high-quality broadcast, film, and game audio production, including the previously-mentioned ISL, LM-Correct, Monofilter, SigMod, Stereoplacer, Stereoizer, VisLM, and Visualizer bolstered by a precise downmixing and surround rebalancing tool (Halo Downmix) and a stereo to 5.1, 7.1 and 3D upmixer (Halo Upmix) alongside a linear phase spline ‘Match & Morph’ EQ (SEQ-S); Surround Suite comprises four previously-mentioned plug-ins — Halo Downmix, Halo Upmix, ISL, and SEQ-S — to upmix, downmix, create, hone, and reshape the sound of its user(s) for mono, stereo, and surround audio.

The Focus, Modern Mastering, NUGEN Producer, Loudness Toolkit, Nugen Post, and Surround Suite bundles are available to purchase directly from NUGEN Audio for $199.00 USD, $299.00 USD, $499.00 USD, $899.00 USD, $899.00 USD, and $1,499.00 USD, respectively. (Upgrade pricing can be found in individual user’s NUGEN Audio account information.)

For more in-depth information, please visit NUGEN Audio's new Product webpage here: https://nugenaudio.com/products/

About NUGEN Audio (nugenaudio.com)
From content acquisition through to playout, NUGEN Audio provides the music, broadcast, and post-production industries’ most advanced solutions for mix, mastering, surround upmixing, end-to-end loudness management, metering, and correction. Reflecting the real-world production experience of the company’s design team, its products make it easier to deliver high-quality, compliant audio while saving time, reducing costs, and preserving the creative process. These audio analysis, loudness metering, mixing/mastering, and tracking tools are used by the world’s top names in broadcast, post-production, and music production.
© 2018 NUGEN Audio Ltd