Friday, 26 January 2018

Antelope Audio announces EDGE Strip breakthrough bundle debut during The 2018 NAMM Show

High-end professional audio equipment manufacturer Antelope Audio is proud to announce that EDGE Strip — a breakthrough bundle comprising its DISCRETE MP Discrete Dual Ultra-Linear Microphone Preamp and already-available, trailblazing EDGE modelling microphone (for which the all-new, all-analogue dual-input microphone preamplifier itself is specifically designed) — will be making its debut during a must-see showcase at The 2018 NAMM Show, January 25-28 in Anaheim, California.

Antelope Audio’s talented team of engineering experts, led by capable company CEO Igor Levin, designed DISCRETE MP to perfectly match the frequency response of the already-available, trailblazing EDGE, a large-diaphragm modelling microphone featuring dual edge- terminated capsules for a smooth/natural sound, reproducing the expressiveness and character of costly classic microphones — albeit without excessive expense. Elsewhere, the EDGE Strip-bundled DISCRETE MP dual-input microphone preamplifier places the same transistor schematic that beats at the state-of-the-art heart of the aptly-named DISCRETE 8 Thunderbolt & USB Interface with 8 Discrete Mic Preamps and DISCRETE 4 Thunderbolt & USB Interface with 4 Discrete Mic Preamps series siblings — released to critical acclaim late last year — at its user’s fingertips.

Furthermore, the EDGE Strip bundle comes complete with a package of microphone emulations, bringing field-tested microphone classics destined to make musical inroads into studio setups the world over. Developed in close collaboration with world-renowned experts, these must-have microphone emulations are available in native formats, facilitating lightning-fast workflow. Preamp emulations are also included in the package, together with the STAY-LEVIN compressor, personally designed by Igor Levin at Antelope Audio.

Antelope Audio has always collectively prided itself in coming up with technologies that unite the digital and analogue audio worlds. While both DISCRETE MP and EDGE are all-analogue devices, making them fully compatible with any audio interface and A/D converter central to any studio setup anywhere, DISCRETE MP allows users to explore the full potential of EDGE in both Antelope Audio-centred setups or other audio systems. Saying that, thanks to its 1kHz hardware calibration OSC (oscillator), DISCRETE MP easily adapts to any studio setup.

Watch Antelope Audio’s cutting-edge EDGE modelling microphone demonstration video

Still deeper, DISCRETE MP masterfully makes available Antelope Audio’s signature sonic footprint of pristine audio quality. The unique discrete design of its preamp allows Antelope Audio to modify each individual aspect of the preamp, putting total control over colouration, clarity, and character in the hands of discerning users.

Ultimately, then, DISCRETE MP powerfully punches well above its (950g) weight while packing a lot into its diminutive (190mm W x 46.5mm H x 157mm D) dimensions, as evidenced by its impressive technical specifications: two INPUTS on MIC-XLR and LINE-USE 1/4” JACK, offering 20dBu max balanced @ 2kΩ (XLR only) and 29dBu max balanced @ 13K to ground (TRS only); two TRS OUTPUTS (22dBu max); USB CONTROL I/O (USB 2.0 Full-Speed Type B for remote control only); and a mic preamp pushing out an accomplished gain range of 0dB to 61dB (in 1dB steps) alongside 48V phantom power.

Put it this way: when taken together as the EDGE Strip breakthrough bundle, Antelope Audio’s all-new, all-analogue DISCRETE MP Discrete Dual Ultra-Linear Microphone Preamp and already-available EDGE modelling microphone make for a killer combination!

Clearly not to be missed, EDGE Strip will be showcased by Antelope Audio on booth #15914 at The 2018 NAMM Show, January 25-28 in Anaheim, California. Come check it out!

EDGE Strip — a breakthrough bundle of Antelope Audio’s all-new, all-analogue DISCRETE MP Discrete Dual Ultra-Linear Microphone Preamp and already-available, trailblazing EDGE modelling microphone — is shipping in March 2018 with a projected price of €1,295.00 EUR.

For more in-depth info, please visit the dedicated EDGE Strip webpage here:

About Antelope Audio (
Antelope Audio is a leading manufacturer of high-end professional audio equipment, pioneering the adoption of atomic clock generators in audio master clocks through utilising CEO Igor Levin’s 25-plus years of experience in digital audio. Antelope was the first company to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. The company’s customers include many GRAMMY® award-winning sound engineers and some of the most renowned recording, mastering, and post-production facilities around the globe.
© 2018 Antelope Audio

Tuesday, 23 January 2018

NUGEN Audio advances award-winning MasterCheck Pro loudness, dynamics, and codec toolset to Version 1.5

“I have to deliver final mixes that will sound great on multiple streaming services, radio, iTunes, and in clubs; MasterCheck Pro allows me to do this... it might just be the most important toolset in my arsenal.”  - Dave Pensado, GRAMMY® Award-winning mix engineer (Beyoncé, Black Eyed Peas, Mary J. Blige), 2018

Innovative, intuitive professional audio tools creator for high-end music producers, post-production engineers, and broadcasters NUGEN Audio is proud to update its award-winning MasterCheck Pro loudness, dynamics, and codec toolset to Version 1.5 — with enhancements embracing support for the Apple AAC (Advanced Audio Coding) iTunes Plus native OS X codec and also the PSR (Peak to Short-Term Loudness Ratio) measurement update to AES Engineering Brief 373.

The term codec is an acronym for coder/decoder. Music streaming services such as Apple Music® and Spotify use codecs to reduce the data bandwidth required to stream audio to the consumer. Codecs affect audio quality, so it is important to be able to audition them in realtime in a DAW (Digital Audio Workstation) in order to mitigate side effects caused by intersample clipping and bit depth reduction.

Rescue from this sorry situation is always at hand, however, thanks to NUGEN Audio’s award-winning MasterCheck Pro, perfectly positioned as an essential mix optimisation toolset for mixing and mastering for streaming services.

Watch GRAMMY® Award-winning mastering engineer Howie Weinberg wax lyrical
about mastering for the internet age with MasterCheck Pro:
Ultimately, Version 1.5 of MasterCheck Pro places two important improvements in the hands of eager-eared engineers keen to tackle advancing audio frontiers. Firstly, now that MasterCheck Pro supports the Apple AAC iTunes Plus native OS X codec, people producing to the MFIT (Mastering for iTunes) standard can take advantage of real-time monitoring of the native Apple codec in OS X — and all from within the comfort of their chosen DAW.

Delving deeper, by way of brief background, NUGEN Audio joined a panel of experts, together with the AES (Audio Engineering Society), to write an engineering brief — AES Engineering Brief 373 (Measuring Micro-Dynamics — A First Step: Standardizing PSR, the Peak to Short-Term Loudness Ratio) — on PSR, pushing to encourage consistency and adoption amongst manufacturers and engineers, and harmonise usage. Usefully, Version 1.5 of MasterCheck Pro updates its PSR measurement in line with the resulting AES panel recommendations contained within that brief — available for download in the AES E-Library, where the following excerpt from its introduction makes for fascinating reading: “The ‘loudness war’ still rages, but with major digital streaming services switching to loudness normalization by default, its end is near. Since absolute loudness is no longer effective at making music ‘stand out,’ engineers are finding it much more effective to optimize micro-dynamics instead. The overall PLR (Peak to Loudness Ratio) of an audio track is widely recognized as a useful metric to assess the overall micro-dynamics of a section of audio and the likely results of normalization. However, short-term variations are also important, especially when judging the results of compression and limiting on audio quality, and these can be usefully assessed by a real-time property known as PSR (Peak to Short-Term Loudness Ratio). PSR is found to be straightforward and intuitive to use…”

Updating MasterCheck Pro to Version 1.5, NUGEN Audio are advancing this essential mix optimisation toolset for mixing and mastering in accordance with today's increasingly streaming serviced-society so that the likes of GRAMMY® Award-winning mix engineer Dave Pensado can continue to deliver music mixes safe in the knowledge that their work will work… wherever it is being streamed.

Straightforward and intuitive to use, Version 1.5 of MasterCheck Pro will be showcased by NUGEN Audio on booth #14005 at The 2018 NAMM Show, January 25-28 in Anaheim, California. Come check it out!

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

For more in-depth information, please visit the dedicated MasterCheck Pro webpage here:

About NUGEN Audio (
NUGEN Audio creates innovative, intuitive professional audio tools for high-end music producers, post-production engineers, and broadcasters. Reflecting the real-world production experience of the design team, the company’s products make it easier to deliver better quality, save time, and reduce costs. NUGEN Audio’s tools for audio analysis, loudness metering, mixing/mastering, and tracking are used by the world’s top names in broadcast, music, and audio production. NUGEN Audio is pleased to support the goal of fairtrade and donates a minimum of 3% net profit to the Fairtrade Foundation’s work.

© 2018 NUGEN Audio Ltd

Audified delivers DW Drum Enhancer plug-in par excellence with namesake US pro drum hardware manufacturer

Audio software and hardware effects developer Audified is proud to deliver DW Drum Enhancer — an aptly-named, all-in-one drum processing plug-in par excellence evolved in close collaboration with DWe (DW Electronics), a acclaimed brand belonging to family-owned American professional drums, pedals, and hardware manufacturer Drum Workshop, Inc. (DW®), designed to enable users to significantly speed up their work with wonderful results workable within seconds, thanks to carefully-crafted combinations of parameters provided by a true doyen of DW® content, Chris Denogean.

Arising as a result of a creative combination of Audified’s tried-and-tested technology and acknowledged DW® know-how, DW Drum Enhancer is billed as being the only drum processing tool that anyone would ever need to get the drum sound of their dreams, designed to process the basic drum sound spectrum. Put it this way: without DW Drum Enhancer, achieving any drum sound worth its weight in (musical) gold almost always necessitated the now-unnecessary utilisation of several different plug-ins to gate, compress, and EQ it to the heart’s content — clearly easier said than done. After all, when all is said and done, we’re talking about having to carefully match levels between the various plug-ins involved in doing so while fine-tuning the overall sound via several simultaneous windows, which is surely something of an audio headache. However, it definitely doesn’t have to be like that, thanks to DW Drum Enhancer.

Easing the drum processing pain by effectively simplifying and streamlining the effects processing chain, DW Drum Enhancer is not simply one effect. Far from it, in fact. For DW Drum Enhancer encompasses several EQs and compressors (including a model of classic solid state compressor circuits) when getting its musical mojo working. When working with DW Drum Enhancer users can choose their desired Drum type settings using the 12-position selector that includes three types of drums (SNARE, KICK, and TOMS), each with three (Modern, Heavy, and Vintage) variations. The remaining three (OTHER) positions are arranged as follows: OH (overheads); Bus, for servicing the whole set (usually in a mixing console group); and Room, intended for processing whole drum kits recorded by two microphones. Meanwhile, each selection automatically applies appropriate settings, such as EQ type, slope, and frequency; Comp (compressor) type, attack, release, and knee shape; noise Gate attack and release, and sidechain filter. Fortunately, this makes for a speedy, straightforward workflow while also allowing for further fine-tuning through the use of easily accessible additional controls courtesy of a stunningly-photorealistic GUI (Graphical User Interface) that’s as easy on the eye as it is easy to use.

DW Drum Enhancer can be seen and heard in this informative introductory video

Usefully, oval buttons are perfectly positioned at the top of DW Drum Enhancer’s Gate, Comp, and EQ ‘modules’ to turn them on and off. Of course, each module makes several standard controls readily available to the tweaker-happy user, with the exact parameter of whatever is being changed clearly visible in the left-hand display. Gate is armed and ready to remove unwanted audio material below a certain threshold (turning the signal off when only hum or noise is present); Comp limits the dynamic range of the incoming signal (applied once the volume of the incoming signal exceeds the Threshold control setting, while the Mix knob adjusts the parallel mixing level and adjacent Make-up knob compensates for average volume); EQ adjusts the Hi, Mid, and Low frequency amounts (alongside an EQ Position switch to set it before or after the compressor, while HP and LP buttons switch high-pass and lowpass filters on or off).

On top of that, DW Drum Enhancer embraces an advanced model of real valve saturation circuitry. The oval Sat button turns saturation on or off while the big saturation knob adjusts the amount of saturation being applied with higher levels adding harmonics to the incoming signal. Similarly straightforward, specific buttons change the tube circuit, affecting the point at which it kicks in and also its frequency response. The following selections are available: Presence (higher amount of signal on mid-high frequencies to best facilitate cutting through the mix), Vintage (smoother highs and more even harmonics), Brown (an almost flat frequency response with only light high frequency rolloff and higher harmonic punch), White (higher amount of signal on higher frequencies and a balanced ratio between the even and odd harmonics), and LoFi (less low and high frequencies). All add colour, warmth, and sonic character based on Audified’s precise circuit modelling technology. This imbues any drum track with a true-to-life feel and an all-natural analogue sound, without shying away from its side effects — exactly the same as with all Audified plug-ins.

Putting DW Drum Enhancer to work… well, it clearly couldn’t be easier: one click sets up the system, then the dream drum sound-seeker conceivably only needs to think about applying some fine-tuning and gentle saturation to their sound, saving time, insert slots, and CPU (Central Processing Unit) load.

Little wonder, though, that DW Drum Enhancer’s provided presets for almost all occasions are an even speedier, sure-fire way of achieving a dream drum sound since they were professionally prepared to the highest standard in DW®’s dedicated studio by trusty audio engineer Chris Denogean. Duly responsible for almost all DW® content, having also recorded some of the world’s best drummers, DW Drum Enhancer users of all abilities further benefit from his specialised skills since there is no need to search for EQ sweet spots when working with the plug-in as its EQ section has helpfully been carefully crafted in collaboration with the talented DW® engineer, enabling the associated Hi, Mid, and Low frequencies and HP and LP filter behaviour to be dependent on the Drum type selected. Similarly, compressor type, knee, and times are also dependent on the Drum type selected while the tweak-able, intelligent Gate helps remove the unwanted signal from the material being recorded.

Reality reasons, then, that DW Drum Enhancer effectively lives up to its appellation as a time-saving complete drum chain with tube simulation. So, thanks to Audified’s close collaboration with a true doyen of DW® content, achieving a dream drum sound has never been easier — or sounded better… just ask Scott Donnell, Vice President of Marketing for DW®’s umbrella of brands (including DW Drums, Gretsch Drums, DW Electronics, and more)!

Meanwhile, DW Drum Enhancer will be being showcased by both DW® and Audified’s North American distributor, Eleven Dimensions Media, on booths #202A and #15001, respectively, at The 2018 NAMM Show, January 25-28 in Anaheim, California. Come check it out… these are the things that (drumming) dreams are made of!

DW Drum Enhancer is available to purchase at an introductory promo price of $149.00 USD until February 15, 2018 — rising to $199.00 USD thereafter — from Audified’s online shop here:

DW Drum Enhancer 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 and above) — alongside a fully-functional, 30-day trial version — from Audified here:

For more in-depth information, please visit the dedicated DW Drum Enhancer webpage here:

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

About Drum Workshop, Inc. (
Founded by drum educator Don Lombardi in 1972, Drum Workshop, Inc. (DW®) is a premier American musical instrument company best known for designing and manufacturing award-winning drums, pedals, hardware, and accessories under the DW and PDP banners. Employing over 250 people worldwide, DW is headquartered in Oxnard, California, and Ridgeland, South Carolina, USA. International operations include a joint partnership in a manufacturing facility near Tianjin, China, and the company also maintains worldwide distribution for all of its brands. In 2014, Drum Workshop expanded to include other iconic American instrument brands, such as Gretsch Drums®, Latin Percussion®, KAT Percussion®, Gibraltar® Hardware, and Ovation Guitars®. Drum Workshop’s extensive product lines are endorsed by many of the world’s top artists, including: Neil Peart, Taylor Hawkins, Chad Smith, Sheila E., Melissa Etheridge, Mick Fleetwood, Don Henley, and Dave Grohl, amongst others. Named amongst the world’s “Top 25 Highest-Grossing Musical Instrument brands” by MMR Magazine, Drum Workshop is still owned and operated by the Lombardi family, and maintains top-of-mind global brand recognition as America’s premier producer of quality and innovative musical instruments and accessories. For 45 years, DW has remained “The Drummer’s Choice.”

Saturday, 20 January 2018

Analogue Solutions spreads synthBlocks series wings with tiny Treadstone true analogue mono synth

Hot on the heels of its inaugural Mr Hyde and Dr Strangelove so-called synthBlocks (launched late last year to widespread critical acclaim), British boutique electronic instruments innovator Analogue Solutions is proud to widen the self-explanatory series’ scope with Treadstone — taking the same smart, small, and affordable desktop design-driven analogue attributes of its similarly superior-sounding signal-processing siblings and applying them to a true analogue mono synth that packs a lot of (patchable) punch into a perfectly-matched, portable package.
Treadstone takes its intriguing name from a fictional highly-classified, heavily-guarded secret program that features in the series of books based on a fictional spy and associated feature films; it is shut down as the thrilling plot thickens, alas. As the latest addition to Analogue Solutions’ synthBlocks series — squarely aimed at laptop and audio plug-ins-focused digital musicians wishing to apply analogue, hands-on hardware sound-sculpting creativity to their sometimes sterile-sounding computer-based creations, the tiny Treadstone true analogue mono synth is far from fictional, however; hearing is believing, but it would, without question, make for a superior-sounding, space-saving desktop addition to any discerning film composer’s creative studio space — or anyone else’s, for that matter!
More meaningfully, maybe, Treadstone treads far from carefully, but boldly goes where few analogue synthesizers dare to win… with an all-analogue audio path and modulation circuits based on superior-sounding designs dating back to the mid-Seventies, so no CPU (Central Processing Unit) stabilised and quantised circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other ‘all-analogue’ affairs. Analogue as in really analogue — aside from the MIDI-to-CV circuit (which, by its very nature, must include a digital element) — in other words.

Winning analogue attributes apart (as attested to by its immediately apparent sonic strengths), this pocket-sized powerhouse packs a lot into its 134 x 125 x 52mm diminutive dimensions — including a serious single VCO (Voltage Controlled Oscillator) with square and sawtooth waveforms plus noise and an associated sub-oscillator, a reissue of the classic SSM2044 4-Pole VCF (Voltage Controlled Filter) chip (as used in many classic synths, such as the Korg Polysix and Monopoly, as well as E-mu’s Emulator and SP1200 sampling trailblazers), an analogue echo (REFLECT), and a unique LOOP SEQUENCER (to input, edit, and play up to 16 MIDI notes) — while weighing in at only 420g! Get this, though: Treadstone is designed, built, tested, and assembled in the UK using only high-quality components as is the Analogue Solutions way, with a full rugged steel/aluminium case combined with real ‘analogue’ wood side pieces perfectly reflecting its polished pedigree.

Watch Analogue Solutions’ ear-tickling Treadstone teaser video

Put it this way: what’s within certainly counts in large amounts, albeit admittedly appearing at odds with those diminutive dimensions. Digging deeper, putting Treadstone through its musical and experimental paces can be as complex or uncomplicated an experience as deemed necessary; needless to say, Analogue Solutions has treated Treadstone to a diversity of creative controls and accompanying patch sockets, surely satisfying even the most ‘battle-hardened’ subtractive synthesists around — hardly surprising since Treadstone was designed by Analogue Solutions founder Tom Carpenter. As a fervent fan of electronic music and also an active electronic musician himself, he naturally knows a thing or two about programming synthesizers. So his latest creation clearly wasn’t the result of engineering design decisions alone — nor driven by a steering committee of men (or woman) in suits. So what else is ‘inside’ this small but perfectly formed box of subtractive synthesis tricks, then?

Thoughtfully, Treadstone is fully compatible with the ever-popular Eurorack small-format modular system and operates on the 1v/oct standard, so, armed with a fistful of 3.5mm mini-jacks, justifiably serious synthesists can interface it with their modular system or have it act as an exceptional external voice for another analogue synthesizer — after all, Oberheim’s Synthesizer Expander Module® (SEM) started life as an add-on synthesizer module for fattening up Minimoogs before becoming a sought-after sound in its own right (with up to eight embedded in Oberheim’s groundbreaking Seventies-vintage polysynths). Reality shows that Treadstone sounds a lot fatter than it looks!

Looks, of course, can be deceiving. Demonstrating design flare and flexibility, Treadstone can capably turn its hand — well… knobs, switches, and patching — to any number of applications. Any time anyone needs analogue sound effects, fat basses, screaming leads, bleeps, blurps, zaps, and all manner of other crazy sounds associated with subtractive synthesis… try Treadstone! Then consider that Treadstone has an AUDIO IN (input) socket, so users can feed external sounds through the onboard analogue filters for analogue processing. Producing electronic percussion sounds — such as kicks, snares, hi-hats, and cymbals — is perfectly possible in the hands of skilled synthesists. Speaking of which, while Treadstone is partially pre-patched, many of these patches can be cancelled using the switches and controls. Indeed, it has such wide-ranging modulation routing possibilities that it is almost as versatile as a full modular system and can create similar sounds — and all without the mess and confusion of cables! Cables, of course, can be used to re-patch Treadstone, thanks to an abundance of carefully chosen patch sockets, or connect externally elsewhere.
Either way, Treadstone makes for a fine addition to Analogue Solutions’ synthBlocks series, and a superior-sounding, space-saving addition to any studio or stage setup. Synth in pocket, indeed… Treadstone’s no pretender!

UK purchase price for the Treadstone synthBlock is £499.00 GBP (including VAT), via dealers ( and Analogue Solutions directly.

North American availability of the Treadstone synthBlock is being handled via Voltage & Company ( — full-service reps of high-quality manufacturers from around the world — with a retail price of $599.00 USD, while (most) EU distribution is being handled by Sonic Sales ( — one of the largest full-service MI (Musical Instrument) distribution companies in Europe — priced at €589.00 EUR (including VAT).

For more in-depth info, visit the dedicated Treadstone webpage here:

About Analogue Solutions (
Analogue Solutions is a UK-based boutique electronic instruments innovator that specialises in true analogue synthesizers, sequencers, and Eurorack modules. More than 24 years experience in the industry means that they were right there at the start of the Eurorack revolution — the third company to start producing modules, in fact. Furthermore, Analogue Solutions products are all hand built in England — many being tested by founder Tom Carpenter himself, who has hands-on involvement in all aspects of the company. Characterful to boot, Analogue Solutions innovative instruments are applauded for proudly possessing a truly vintage sound — synthesizers featuring fully-analogue audio paths with analogue LFOs (Low Frequency Oscillators) and EGs (Envelope Generators) are the order of the day here. Having no memories means that nothing is being made to sound sterile by CPU (Central Processing Unit) control; conversely, turning a knob directly changes the voltage or current in an actual synth circuit to audible affect. Analogue Solutions founder Tom Carpenter consistently constitutes proof of a genuine passion for analogue synths, drawing upon his years of owning and using vintage analogue synths and drum machines that he still uses in his own music productions — alongside Analogue Solutions products, predictably!  © 2018 Analogue Solutions (UK) Ltd

Spitfire Audio announces availability of ÓLAFUR ARNALDS CHAMBER EVOLUTIONS endeavour as notable namesake latest library

Spitfire Audio is proud to announce availability of ÓLAFUR ARNALDS CHAMBER EVOLUTIONS, effectively exploring what was possible with a chamber ensemble when working with BAFTA (British Academy of Film and Television Arts) Award-winning Icelandic composer, multi-instrumentalist, and producer par excellence Ólafur Arnalds — famed for his original score to Broadchurch, the top-rating television series from ITV (operators of the largest commercial family of channels in the UK), as well as several standout studio albums, including Island Songs (seeing him travel to seven very different locations in Iceland over the course of seven weeks to record several new compositions) — as an all-star ensemble performed his latest set of evolutions, executed with time-tested Spitfire sampling savoir faire as its musical must-have, notable namesake library latest, as of January 19…
By way of brief background, based in Reykjavik, Iceland, Ólafur Arnalds’ approach to sound and composition has incontestably inspired a new generation to enjoy and create orchestral music. Following in the successful sampling footsteps of his own ÓLAFUR ARNALDS EVOLUTIONS and ÓLAFUR ARNALDS COMPOSER TOOLKIT libraries, Ólafur Arnalds became the clear choice with whom to create …CHAMBER EVOLUTIONS. After all, Spitfire Audio was collectively keen to explore what was possible with a chamber ensemble ensuing the well-received release of SPITFIRE SYMPHONIC STRINGS EVOLUTIONS (where pristine symphonic sampling meets Spitfire Audio’s alternatively progressive Producer Portfolio range to create an evolutionary experience by applying the company’s cutting-edge Evo Grid technology to the same no-expense-spared session recordings responsible for its sought-after 60-star-string-player-performing, blockbuster-sounding SPITFIRE SYMPHONIC STRINGS library like no other); obviously this translated to the driving musical motivation factor behind bringing on-board Ólafur Arnalds again as an accomplished creative collaborator.
Clearly capturing the delightful detail of individual players — performing as a 4, 3, 3, 3, 3 (Violin I + II, Viola, Cello, Double Bass) ensemble of best British players led by fellow Icelandic multi-instrumentalist, composer, conductor, and longterm Ólafur Arnalds associate Viktor Orri Árnason, ÓLAFUR ARNALDS CHAMBER EVOLUTIONS exudes greater intimacy than its above-stated symphonic sibling, but beautifully balances that with enough excitement to still hold its own in scores and compositions alike.
As has been the case with so many precedent-setting Spitfire Audio libraries that preceded it, the top-tier ÓLAFUR ARNALDS CHAMBER EVOLUTIONS production saw ‘Spitfire & Co.’ returning to the much-lauded Lyndhurst Hall within London’s legendary AIR Studios founded by Beatles-producing genius George Martin. There the ensemble in question was creatively captured with only the best classic high-end microphones and pres — piped through the world’s largest Neve 88R large-format console, no less — to Pro Tools and quarter-inch tape with several user-selectable mic mixes making their way to the finished article as C (Close), St (Stereo), T (Tree), and A (Ambient) to great effect. “You can feel the history; there’s something special, and the players can hear it and feel it,” observes Ólafur Arnalds himself.

Watch Spitfire Audio’s tantalising teaser videos for ÓLAFUR ARNALDS CHAMBER EVOLUTIONS
However, being best described by Ólafur Arnalds as “…a sample you can play for three minutes that’ll never sound the same,” and readily reflected in the titling of ÓLAFUR ARNALDS CHAMBER EVOLUTIONS, even, those thrilling evolutions themselves have become widely adopted amongst the composer community as the most effective means of easily writing music that is able to subtly change over time without variation in melodic content. Creativity continues still further in the case of ÓLAFUR ARNALDS CHAMBER EVOLUTIONS (and also the likes of SPITFIRE SYMPHONIC STRINGS EVOLUTIONS), thanks to an ability to generate randomised evolutions, enabling unexpected results that are truly inspirational in their own right. Recording a number of very long notes that change or mutate over time across the entire range of the keyboard cleverly results in different evolutions. End users can create profound end results in hitherto unheard ways. What’s more, those note lengths are different across each Evo — ‘Spitfire-speak’ for evolution — to increase the randomness of what the user creates.
Watch Spitfire Audio Director Christian Henson and Ólafur Arnalds talk through
Assigning an evolution to a note range is straightforward: simply place a (virtual) peg in the relevant hole on the Evo Grid itself — inspired by the breakthrough British EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesiser available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favour of making space-saving connections with (removable) coloured pegs.

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

Pushing the concept onwards, ÓLAFUR ARNALDS CHAMBER EVOLUTIONS includes innovative evolutions, courtesy of Ólafur Arnalds: Feathering, so that only half of the players are performing at any given time — this allows users to play different chords and still hear the detail of the players, while Waves represents one of Ólafur Arnalds’ signature sounds — crescendo-diminuendos, so a range of prerecorded Waves have been included for instant satisfaction, saving the user from having to manually draw in or perform with a fader. “I’ve been using them on every single thing that I’ve done for film since we recorded this with the ‘alpha’ version of the library,” reveals its instigator, before concluding, truthfully: “They’re just magical and so inspiring; it’s a good writing tool.”

Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s
There it is… Ólafur Arnalds’ closing comment clearly sums up ÓLAFUR ARNALDS CHAMBER EVOLUTIONS. This latest library makes it easy to create sophisticated chamber strings music from the most simplistic of arrangements — just a few sustained notes is all that’s needed to write inspiring dynamic textures!

ÓLAFUR ARNALDS CHAMBER EVOLUTIONS can be purchased and digitally downloaded (as 30.5 GB of uncompressed .WAV files, featuring 15,156 samples) for a time-limited introductory promo price of £189.00 GBP (inc. VAT)/$219.00 USD/€219.00 EUR (inc. VAT) until February 8, 2018 — rising thereafter to an MSRP of £249.00 GBP (inc. VAT)/$299.00 USD/€299 EUR (inc. VAT) — from here:

ÓLAFUR ARNALDS CHAMBER EVOLUTIONS needs Native Instruments’ free KONTAKT PLAYER (5.6.8) — included in the purchase — to run as a fully NKS™ (NATIVE KONTROL STANDARD) supporting plug-in instrument for Mac (OS X 10.10, 10.11, or macOS 10.12 — latest update) or Windows (7, 8, or 10 — latest Service Pack,32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

For more in-depth information, including a superb-sounding audio demo from Ólafur Arnalds himself, please visit the dedicated ÓLAFUR ARNALDS CHAMBER EVOLUTIONS webpage here: 

About Spitfire Audio (
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

Dialog Audio unleashes unique sequenced modulation pattern possibilities with SQ4 Sequence Processor plug-in

Hot on the heels of its innovative MP3244 Modulation Processor synchronisation and modulation plug-in (and advancing update subsequently launched late last year to widespread critical acclaim), specialised performance tools developer Dialog Audio is proud to announce availability of its SQ4 Sequence Processor audio software plug-in — pushing processing boundaries beyond what has been previously possible with the creation of advanced sequences to modulate and synchronise audio hardware and software parameters from within a DAW (Digital Audio Workstation) host application.
As implied by name, SQ4 Sequence Processor permits users to create unique sequenced modulation patterns — four sequences with up to 128 steps per sequence, so not so much one small step for man, but rather one giant leap for music-kind when it comes to the creation of advanced sequences to modulate and synchronise audio hardware and software parameters from within a DAW host application!
As such, the basic setup for most host applications is similarly straightforward, with only two tracks usually required. On one track the user needs to add SQ4 Sequence Processor itself, then add the target device — be that an external hardware or software instrument — to the second track, with a virtual MIDI (Musical Instrument Digital Interface) connection also needing to be made from the SQ4 Sequence Processor track to the target device track.

Thereafter, like its innovative MP3244 Modulation Processor software sibling, SQ4 Sequence Processor provides different connection capabilities (depending, of course, on the audio hardware setup it is being used with), which, interestingly, includes: controlling hardware synthesizers (or other hardware) with MIDI inputs via MIDI CC (Continuous Controller) messages, RPN (Registered Parameter Number) and non-RPN messages, or MIDI SysEx (System Exclusive) messages; modulating any analogue synthesizer capable of receiving CV (Control Voltage) signals simply by patching spare outputs from an audio interface (if DC-coupled) is perfectly possible, generating high-resolution audio rate CV modulation, or, alternatively, a MIDI-to-CV converter could always be pressed into play for any audio gear that can be controlled via CV. Owners of software-only setups need not feel left out of the picture, for SQ4 Sequence Processor can capably modulate soft synths and audio plug-ins within the host DAW to provide extended modulation possibilities.

Whatever way whatever user chooses to work, SQ4 Sequence Processor places a raft of fanciful features at their ever-more-expressive fingertips, including variable synchronisation options, which can be set from free running to hard sync. Note events can re-trigger a sequence and several running directions can be selected. SWING, SLEW (limiting), PHASE (offset), and GAIN controls can be adjusted to accommodate modulations for the target device.Deeper still, each of those 128 sequence steps can be tailored to create unique modulation signals. Steps can be combined to allow long and smooth curves over multiple steps; speedy, adjustable step sequences can be used to create modulations with steep surges; slope sequences are suitable for quick and rough modulations.

Moreover, SQ4 Sequence Processor can be loaded within MP3244 Modulation Processor, which serves to extend its modulation possibilities further still, so pushing processing boundaries beyond what has been previously possible with the creation of advanced sequences to modulate and synchronise audio hardware and software parameters from within a DAW host application steps up another gear. Getting it is to get creative like never before, but getting both SQ4 Sequence Processor and SQ4 Sequence Processor is a killer creative combination like no other on earth… one giant leap for music-kind for sure!

SQ4 Sequence Processor can be purchased — for Mac OS X 10.7+ (AAX/AU/VST, Universal Binary) or Windows (7, 8, 10 AAX/VST, 64-bit/32-bit) — directly from Dialog Audio for $49.00 USD (including VAT) from here:

Moreover, MP3244 Modulation Processor and SQ4 Sequence Processor can be bought bundled together for $79.00 USD (including VAT), representing around a 20% saving over buying both products separately; still better, owners of MP3244 Modulation Processor are eligible for a special offer to upgrade their existing MP3244 Modulation Processor license to a Plugin Bundle license by buying SQ4 Sequence Processor at a reduced rate, valid until February 28, 2018.

Note that SQ4 Sequence Processor runs in demo mode until a valid Software License Key is entered; during demo mode the plug-in will intermittently stop processing and preset loading is permanently disabled.

For more in-depth info, please visit the dedicated SQ4 Sequence Processor webpage here:
About Dialog Audio (
Dialog Audio focuses on the development of hitherto unheard of specialised performance tools to enhance audio production, composition, and music-making from within The Dialog Audio Laboratory, a creative space occupied by a group of people passionate about music and research, sharing their knowledge in different areas of science.

© 2018 Dialog Audio


SOUNDSCAPER VST/AU. is a FREE polyphonic rompler with 12 samples taken from Flintpope’s Reaktor Soundscaper, to give you a flavour of the latter instrument.

Soundscaper is aimed at sound-designers and in the Reaktor version there are 254 samples, 96 presets and a staggering 16000 possible combinations of sounds.
Read more about Reaktor Soundscaper here

Meanwhile, Soundscaper VST/AU boasts a representative selection of sounds from the three banks “Synthwaves”, “Soundscapes” and “Percussives” in the Reaktor version and a selection of controls.

Attack, Release, LFO Amount, LFO Waveform (Triangle,Saw, Square, Exponent), LFO Rate, LFO Destination (None, Pitch, Expression, Pan), Preset Select, Cut, Room (reverb), Pitch, L/R balance and Master.

Get Soundscaper VST/AU here.

Watch the demo video here:

Listen to Soundscaper audio demo here:


Thursday, 4 January 2018

Touch Innovations wows with stunning see-through, all-glass, multi-touch control display exuding ‘XG’ factor

Physical hardware touch technology and cutting-edge software specialist Touch Innovations is proud to announce availability of XG — a stunning see-through, all-glass design demonstrating its most luxurious touch screen system yet.
Wowing wherever with a seamless bezel-free design, an all-glass body, and a 39-inch see-through PCAP (Projective Capacitive) touch display supporting 10 simultaneous touch points, XG is quite unlike anything anyone has ever seen (or touched), truly exuding that special ’XG’ factor! For this unique combination of function and finesse makes it a perfect fit for impressing clients and audiences alike in almost any fixed location scenario, performance-based or otherwise — on stage, including high-end clubs’ DJ booths, and elsewhere, from hotel lobbies to mall kiosks and museums to showrooms, with much in-between and beyond, such as gaming events and even upmarket restaurants. Realigning performance and infotainment control possibilities are almost endless.
Entertainment-ready, the Windows-compatible XG is available as two distinct versionsXG PRO (with an onboard high-power Intel PC with 500 GB storage for easy installation and preferred software usage) or XG LITE (without an onboard PC). Allowing for the most luxurious display, all components are conveniently sited inside the base unit, avoiding unsightly cable clutter. The projected 39-inch display is brighter than any other touch screen system, increasing both visual attractiveness as well as legibility. Little wonder, then, that it is guaranteed to command attention in almost any environment.

Every XG system ships bundled with Emulator 2, Touch Innovations’ critically-acclaimed customisable multi-touch controller flagship software for any MIDI (Musical Instrument Digital Interface) application. As such, Emulator 2 really represents a license to dream, making it perfectly possible for users to create their dream controller by bringing about a multi-touch experience with everything and anything available at their fingertips. For Emulator 2 includes all standard objects like sliders, knobs, modulation pads, encoders, buttons, and much more besides. But best of all, as each and every component is fully customisable, creativity is effectively only limited by the user’s imagination… and, of course, the software being controlled. It’s a killer combination!

Concludes Touch Innovations COO Cody Myer: “XG offers our most elegant setup to date, bridging us into the digital signage world while retaining high-end performance for all user scenarios. As we continue to develop hybrid hardware/software solutions for creative artists, products like our ELITE series — a DJ’s dreamlike mobile marriage of road-ready, cutting-edge multi-touch technology with a massive see-through screen — and, now, our new XG models are becoming a bigger part of our business.”

XG PRO and XG LITE are available for online ordering directly from Touch Innovations at $6,895.00 USD ($180.00 USD/month) and $5,999.00 USD ($165.00 USD/month) respectively from here:

About Touch Innovations (
Touch Innovations is headquartered in the heart of Miami, FL, USA, where its expert team of specialists work with the latest touch technology in both physical hardware and cutting-edge software. The trailblazing company entered the electronic music industry in 2009 with one purpose: to give DJs and producers the tools needed to create, express, and explore new musical possibilities. Since then, the company’s products have become fixtures for DJs and producers wanting to set themselves apart in the studio and onstage. The refinement of digital touch screen technology has become the building block of today’s most popular consumer hardware. However, only Touch Innovations has successfully brought that technology to the performance/production artist. The uniqueness of its Emulator software has forever changed the way that modern music is created and performed by enabling ‘touch’ to become the basis for composition and performance. Touch Innovations stands at the forefront of touch technology and remains one of the most influential manufacturers of musical equipment of the last 10 years. It prides itself on creating unique experiences for multi-touch users and will continue to pave new roads for DJs, producers, and musicians while exploring new markets that touch technologies have yet to embrace.
 © 2018 Touch Innovations