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

The Loudspeaker Sourcing Show — an annual one-stop solution for loudspeaker brand buyers, engineers, and their decision-makers to meet directly with qualified loudspeaker factories all under one roof to focus on making better products for consumers by providing better solutions for the marketplace — is all set to return to the Nansha Grand Hotel Guangzhou in Guangzhou, China as a three-day industry-only event hosting more attendees and exhibitors than ever before between October 16-18, 2018.

Sound is increasingly omnipresent in today’s global marketplace; making meaningful sound waves means someone, somewhere must be making informed decisions in the ever-widening world of loudspeakers, yet one of the biggest market challenges facing businesses dealing with loudspeakers in the audiophile, A/V, contractor, mobile, musical instrument, and professional audio industries is identifying actual qualified suppliers from supplier agents or potential competitors.

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

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

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

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

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

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

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

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

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

http://www.loudspeakersourcingshow.com/wp-content/uploads/2018/08/october-16~182018-loudspeaker-sourcing-show.mp4

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

ZAOR Studio Furniture furthers MIZA range reach with MkII modifications and additions

Stylish, ergonomic, and affordable studio furniture-maker ZAOR Studio Furniture is proud to announce availability of several new revisions and additions to its marketable MIZA product line (catering to the ever-widening range of musicians, DJs, video artists, and such like looking for a comfortable and yet affordable working environment) — namely, the MIZA D-Stand MkII desktop speaker stand, MIZA Jr. MkII flexible media desk, MIZA Rack 12 MkII and MIZA Rack 16 MkII side racks, and MIZA V-Stand 36 and MIZA V-Stand 42 speaker stands.

As implied by name, MIZA D-Stand MkII marks ZAOR Studio Furniture’s new and improved revision of its original MIZA D-Stand desktop speaker stand from four years back. Benefitting from a more modernised (all-black) look, it includes more features. For starters, it is now height-adjustable by up to 50mm (above its 200mm-high horizontal configuration) and can also be angled at up to 9° while providing better acoustic isolation courtesy of four hemispheres made out of a synthetic viscoelastic urethane polymer that minimises transmission by up to 95%. With weight-bearing capabilities belying its diminutive (260mm x 260mm) footprint — up to 25kg when used horizontally and 15kg when angled, a pair of MIZA D-Stand MkII desktop speaker stands can be added to any desk to turn it into a production environment easily and speedily.

Similarly, MIZA Jr. MkII marks ZAOR Studio Furniture’s revision of its original MIZA Jr. flexible media desk for computer-based workflow while targeting video and audio applications. As such, this time the company set about streamlining the production process, resulting in a reduced RRP (Recommended Retail Price) — down to €439.00 EUR (for MIZA Jr. MkII) from €499.00 EUR (for MIZA Jr.), so the end result remains focused on providing the user with a no-compromise workspace without breaking the bank. Better still, specifications remain remarkably similar to what they were with a perfectly sized (1250mm: W x 650mm: D) top plate for fitting into smaller spaces. Saying that, this is supplemented by a 61-note keyboard controller-accommodating (1129mm: W x 308mm: D) pullout draw, which is height adjustable in seven steps of 7mm, while a lower passageway positioned rearwards retains unsightly cables, conveniently keeping them out of sight. Strongly constructed from Melamine-faced chipboard with a strip of solid wood along the front edge of its top plate for aesthetic and protective purposes, MIZA Jr. MkII is available in Cherry/Black and Wenge/Grey finishes, flat packed for easy transportation and assembled easily.
 
Appropriately-monikered, the MIZA Rack 12 MkII and MIZA Rack 16 MkII side racks represent revisions of ZAOR Studio Furniture’s original MIZA Rack 12 and MIZA Rack 16, stylish 12U and 16U open airflow designs that both benefit from a repositioned cable passageway — sited behind the practical low-level drawer — to comfortably accommodate rack-mountable equipment without any depth restrictions via quality rails angled at a gentle incline using the included cage nuts, screws, and washers. What’s more, both feature a sizeable (600mm: W x 500mm: D) top plate, providing an additional work surface suited to any studio setup. Strongly constructed from Melamine-faced chipboard, MIZA Rack 12 MkII and MIZA Rack 16 MkII are available in (MIZA Jr. MkII-matching) Cherry/Black and Wenge/Grey finishes, flat packed for easy transportation and assembled easily.

Ending on a new-fashioned note, the self-explanatory MIZA V-Stand 36 and MIZA V-Stand 42 speaker stands are an all-new addition to ZAOR Studio Furniture’s marketable MIZA product line. Like the musician-friendly MIZA D-Stand MkII before them, they marry a modern (black-finished) look with a moderate cost, but not at the expense of delivering a stable solution with zero resonance — everything needed in a fixed-height 36-inch (MIZA V-Stand 36) or 42-inch (MIZA V-Stand 42) speaker stand, in other words. While absolutely affordable, MIZA V-Stand 36 and MIZA V-Stand 42 adhere to the best standards of technical performance and design, both benefitting from a (300mm x 300mm) top plate-affixed Aerstop absorption pad for decoupling speakers weighing up to 40kg from within whatever room they are asked to perform — perfectly levelled, thanks to adjustable feet on the (300mm x 300mm) bottom plate.

Put it this way: with the MIZA V-Stand 36 and MIZA V-Stand 42 additions available alongside the MIZA D-Stand MkII, MIZA Jr. MkII, and MIZA Rack 12 MkII and MIZA Rack 16 MkII revisions, ZAOR Studio Furniture is now even better positioned to cater to that ever- widening range of musicians, DJs, video artists, and such like looking for comfortable and yet affordable working environments.

The MIZA D-Stand MkII desktop speaker stand, MIZA Jr. MkII flexible media desk, MIZA Rack 12 MkII and MIZA Rack 16 MkII side racks, and MIZA V-Stand 36 and MIZA V-Stand 42 speaker stands are available to order either directly through the Zaor Online Shop (https://zaorstudiofurniture.com/shop/en/) or via ZAOR Studio Furniture’s growing global dealership network (https://zaorstudiofurniture.com/index.php?page=dealers) with an RRP of €179.00 EUR (per pair), €439.00 EUR, €369.00 EUR, €399.00 EUR, €139.00 EUR (each), and €159.00 EUR (each), respectively.

For more in-depth information, please visit the dedicated MIZA product webpages via here: https://zaorstudiofurniture.com/index.php?page=miza

About ZAOR Studio Furniture (www.zaorstudiofurniture.com)
Having established a firm foothold in the recording sector of the audio industry with its killer combination of innovation, flexibility, and customer service, ZAOR Studio Furniture is now a trend-setting studio furniture manufacturer of repute. Remarkable designs like iDesk, ingenious solutions such as the Griprack, and innovations in materials and processes have allowed this truly European enterprise to conquer the studio marketplace worldwide: “We want to bring a new style of ergonomic workflow into the traditional recording environment, guided by a fresh design language and a deep knowledge of the studio world,” says company CEO Klaus Gehlhaar. “We want to empower the creative people behind the music to be their best, through enhanced speaker stands, racks, desks, or useful helpers for keeping cables and instruments tidy and organised.” Already firmly entrenched in top-tier studios globally — not least as a result of its close collaborations with popular partners like Humanscale, IsoAcoustics, Slate, SPL, and SSL, the creative company is never content with existing products and always seeking better ways of satisfying its increasing customer base.© 2018 ZAOR Studio Furniture SRL

Antelope Audio unveil all-new Edge Family of modeling microphones Edge Solo, Edge Duo, and Edge Quadro

Following the success of the acclaimed Edge and Verge modeling microphones, Antelope Audio have unveiled the next evolution of their mic modeling technology. The new Edge Family consists of three large-diaphragm condensers — the fixed cardioid pattern Edge Solo, the multi-pattern Edge Duo, and the dual-capsule Edge Quadro.
 

Together with Antelope’s continually expanding range of vintage mic emulations, available both as native plug-ins and as FPGA FX running on Antelope’s own audio interfaces, the new Edge mics deliver the characteristic sound of some of the most sought-after mics of all time with incredible depth and realism. Developed specifically for each mic, the emulations are based on exacting measurements of the original mics made in one of the best anechoic chambers in Europe.

Watch Antelope Audio’s all-new Edge Family of modeling microphones

introductory video here

Set to ship in October, the Edge Family makes Antelope’s unrivaled mic modeling technology available at a variety of different price points while expanding the range of possible recording applications — from mono to stereo to 3D audio. Custom electronics designed by Antelope’s award-winning engineers deliver exceptional dynamic range and frequency response, resulting in an excellent microphone even before choosing your favorite vintage mic flavor.
Antelope Audio founder Igor Levin comments: “We are constantly looking to innovate and deliver greater value to our users. With the Edge Family, we’ve grown our mic modeling ecosystem into a complete recording solution. We set out to deliver not just the best modeling mics available but the best microphones in the industry, period.”  

Introducing the new Edge Family 

Exclusively built at Antelope’s European headquarters and featuring electronics designed by Igor Levin himself, the Edge Family are outstanding mics in their own right, with an exceptionally even frequency response and wide dynamic range. Their transparent, accurate response provides the perfect platform for Antelope’s remarkable mic emulations.

Edge Solo is the simplest of the three new mics. Connecting via a regular mono XLR cable, it houses a single large-diaphragm capsule with a fixed cardioid pickup pattern. It’s specifically designed to work hand-in-hand with Antelope’s mic modeling plug-ins to emulate some of the greatest cardioid-pattern mics in history. 

 

Edge Duo features a dual-membrane capsule with independent outputs, allowing the signal from each membrane to be individually processed and recombined. This not only means users can vary the polar pattern from within the plug-in, even after recording, it also allows the Edge Duo to accurately emulate the characteristic pickup pattern and on- and off-axis response of each mic for true multi-dimensional mic modeling.

Edge Quadro is a game-changing stereo/surround mic with two dual-membrane capsules and a rotating head. Delivering four channels for independent processing will allow for stereo techniques like M/S, X/Y, Blumlein, and even 3D sound. Users can select a different emulation and polar pattern for each head. The upper head can be rotated noiselessly even while the microphone is actively recording, delivering virtually limitless variations in tonality and stereo image.

The Edge emulations: a mic locker full of classics

The Edge Solo, Duo, and Quadro boast an ever-growing library of stunning vintage mic emulations. There are 11 different emulations already available, with 7 more soon to be released — all free to Edge owners. For the Edge Solo, all 18 will be available from launch.

When used with any of Antelope’s mic preamp-equipped audio interfaces, the new Edge mics offer maximum accuracy and real-time mic emulation courtesy of the interfaces’ onboard FPGA processing.
Uniquely, Antelope also provide native versions of their mic modeling plug-ins, meaning that no additional hardware is required. Available in VST, AU, and AAX formats for both macOS and Windows, Antelope’s native AFX mic emulation plug-ins deliver the same minimal latency, high degree of oversampling, and precise floating-point calculations as their renowned FPGA effects. 

Edge Family giveaway
 
To celebrate the launch of the new Edge Family, Antelope Audio are holding a prize draw. For the chance to win an Edge Solo, Edge Duo, or Edge Quadro, simply visit https://en.antelopeaudio.com/edge-giveaway before October 8, 2018 and enter your details.


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

Analogue Solutions plays to win with highly-versatile next-generation Generator step sequencer

Having made musical waves with a prototype presentation at SUPERBOOTH18 in Berlin before speedily selling out of its first batch, British boutique electronic instruments innovator Analogue Solutions is proud to announce (approaching) availability of a second batch of its next-generation Generator step sequencer — a highly-versatile, multi-channel analogue appliance specifically targeted towards making it easy, fun, and intuitive to change generated rhythms and also play alternative sequences.

As implied by the CV & GATE SEQUENCE GENERATOR wording which is boldly blazoned across a pleasingly well-populated panel, Analogue Solutions’ next-generation Generator is no ordinary step sequencer. As a compact, slim form factor desktop design featuring three parallel-running, 16-step CV (control voltage) channels — CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C — and an array of associated hands-on controls housed in a rugged steel and aluminium chassis with no plastic mouldings (making it ideally suited to withstanding the rigours of the road while being equally at home in the studio, home-based or otherwise), Generator is actually a playable step sequencer at its musical heart. How, exactly, it does that is exactly what sets it apart from the run-of-the-mill step sequencing pack.

Put it this way: with Generator it’s not simply a case of setting up a short sequence of notes to be left looping ad infinitum, as is still the case with some step sequencers out there — though there is still something to be said for those mesmerising musical compositions conjured up by the repetitive note patterns pioneered and popularised by the likes of Germany’s homegrown Kraftwerk and Tangerine Dream during their Seventies heyday and appropriated in many musical styles since; instead, its user interface is deftly designed to make it easy, fun, and intuitive to change generated rhythms and also play alternative sequences.

Firstly, four dedicated knobs offering patent-pending IReTiGaC (Intuitive Real Time Gate Control) can change the rhythm of the beats for the pattern playing by setting which of the 16 steps of the sequence will produce gates; slowly rotating each knob adds more beats in specific positions, thereby increasing the intensity of the rhythm. A pair of associated GATE pattern outputs are available alongside a FLIPPED GATE ‘copy’ — positive voltage with an inverted ‘state’ (so the output does the opposite of the main GATE outputs) — for flexibility when connecting to suitably-equipped analogue synthesisers, Eurorack modular system setups, or other analogue equipment. These output the rhythm set using those IReTiGaC knobs, and using both together with two different synths creates considerable interplay between them.

 

The wonderful world of the VOLTAGE GENERATOR is where Generator really steps up to the plate to offer some serious alternative action, though. This is a special kind of transposer/CV generator with six ‘slots’ — each activated using its own triangular-shaped gold-plated pressure plate. The corresponding knob above each plate is used to set the control voltage output of the VOLTAGE GENERATOR within an approximate range of 0-5V. Those voltage outputs can be sent straight to and mixed with CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C’s respective CV A, CV B, and CV C outputs sockets, with an associated SHIFT switch’s settings determining what goes where: setting said switch into its ‘up’ position results in the VOLTAGE GENERATOR being mixed with A, B, C (CV CHANNEL A, CV CHANNEL B, and CV CHANNEL C); ‘centre’ is off, and ‘down’ results in the VOLTAGE GENERATOR only being mixed with C (CV CHANNEL C). The VOLTAGE GENERATOR’s control voltage is also always available on its own CV output, allowing users to patch it back somewhere else — even externally (to a suitable synth or modular setup).

 Watch Analogue Solutions putting Generator through its performance paces

in this live demonstration video

 

So what, exactly, can be done with this visionary VOLTAGE GENERATOR? For starters, it can conceivably be used as a standalone six ‘note’ interval CV keyboard to directly play an external CV-equipped synthesiser, such as Analogue Solutions’ own Treadstone (taking the same smart, small, and affordable desktop design-driven analogue attributes of its similarly superior-sounding synthBlocks 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). Patching possibilities abound as the VOLTAGE GENERATOR pressure plates are routed to its own outputs: the CV socket outputs control voltage, so pressing plates harder results in a higher voltage that can, for instance, be used to creatively control clock tempo, intensity, fill, or transpose via their respective INT CLOCK TEMPO, INTENSITY, FILL, and TRANSPOSE sockets. (The INTENSITY input uses a CV of approximately 0-5V to alter the intensity of the rhythm with more beats being added to the rhythm as the voltage increases; the FILL input is similar to INTENSITY, but only affects the last four steps to alter the pattern of notes in the last four beats of the sequencer.) The GATE socket outputs a gate that can be used to clock the sequencer, RESET or START it, for example. Additionally, another output voltage from the VOLTAGE GENERATOR can also be patched to alter internal clock speed or transpose. That said, there are also QUANTISED VG output sockets outputting the same signal which will quantise the VOLTAGE GENERATOR voltage to the nearest semitone (when using 1V/oct synths).

Thereafter, thanks to those three parallel channels of 16 steps, Generator steps back into more familiar step sequencing territory — albeit with dedicated start and end LOOP point controls for initiating interesting patterns — that plays well with any analogue gear that has CV and Gate inputs, including vintage or more modern analogue synths and Eurorack modular system setups. Since it does not feature a MIDI (Musical Instrument Digital Interface) output, it is clearly not a MIDI sequencer — nor a DAW (Digital Audio Workstation) control surface. Saying that, it is equipped with a MIDI IN socket, so allows sync, start, stop, and resend control signals to be sent from a DAW or MIDI sequencer. Speaking of which, using MIDI Note information, users can program their own ‘clock pattern’ that can run to clock Generator at the same tempo, half the number of notes to run Generator at half tempo, double the number of notes to run it at double tempo, or even mute the clock note pattern to silence Generator at a particular point before unmuting to get it running again, all the  while creating rhythmic patterns to make Generator syncopate with DAW patterns — much more creative and gratifying than simply using MIDI sync alone.

Analogue Solutions is clearly playing to win with its next-generation Generator step sequencer — so much so that the likes of (the still-active) Kraftwerk and Tangerine Dream should seriously consider playing with one (or more) onstage or in the studio. Speaking of which, English electronic music duo The Chemical Brothers already have access to two! That said, chances are musician, composer, arranger, record producer, and music programmer par excellence Martyn Ware would also approve… after all, he co-composed Sheffield synth-pop funksters Heaven 17’s influential single ‘Play To Win’ way back in 1981, at a time when synthesisers started to make a serious dent in the charts, exciting the ears of one teenage Tom Carpenter — Analogue Solutions’ future founder — in the process.

Priced at £629.00 GBP (inc. VAT)/$749.00 USD/€679.00 EUR (inc. VAT), Generator is available to purchase through Analogue Solutions’ growing global network of authorised dealers  — including Analogue Solutions itself — listed here: http://www.analoguesolutions.com/dealers/

For more in-depth information, visit the dedicated Treadstone webpage here: http://www.analoguesolutions.com/generator/

About Analogue Solutions (www.analoguesolutions.com)
Analogue Solutions is a UK-based boutique electronic instruments innovator that specialises in true analogue synthesizers, sequencers, and Eurorack modules. More than 25 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

Squarp Instruments introduces pyraOS 3.0 firmware update for Pyramid Polyrhythmic Sequencer

Following five months of beta-testing, avant-garde musical machines developer Squarp Instruments is proud to announce availability of pyraOS 3.0 — a free, major update of the radical realtime processing system firmware for its innovative Pyramid Polyrhythmic Sequencer, an advanced 64-track desktop design with MIDI, MIDI USB, CV/Gate, and (Sync48- and Sync24-configurable) DIN Sync connectivity, creatively adding all the most requested features from its supportive user base alongside innovative ideas from its design team to total over 30 additions

Polyrhythm is defined as a rhythm which makes use of two or more rhythms simultaneously, so Squarp Instruments’ Pyramid Polyrhythmic Sequencer certainly takes some beating as an advanced 64-track desktop design with MIDI, MIDI USB, CV/Gate, and (Sync48- and Sync24-configurable) DIN Sync connectivity (‘re-released’ last year as a more robust MKII version, thanks to the machined aluminium housing and a sturdy screen protecting its graphical display); different and unusual time signatures can creatively be set to work on each of those tracks to shape shifted-beat sequences, sowing the seeds for freshly-flavoured musical productions. Perfectly designed from the ground up as a modern, easy-to-use, and versatile hardware sequencer, the Pyramid Polyrhythmic Sequencer deftly delivers a radical workflow and almost unlimited possibilities… powerful sequencing, looping, rhythm generation, real-time effect processing, MIDI control, and input+output interfacing are far from beyond the realms of possibility. Put it this way: Pyramid Polyrhythmic Sequencer is perfectly positioned to take centre stage in any musical setup — spanning studio to stage.

Squarp Instruments’ ever-evolving pyraOS radical realtime processing system firmware for its Pyramid Polyrhythmic Sequencer really represents the brains behind being able to unleash so much musical creativity. Control any parameter — such as track length, MIDI channel, quantisation grid, swing percentage, and arpeggiator rate — on the fly and listen to the changes… tout de suite. Seventeen updates have been regularly released so far — and all for free, of which pyraOS 3.0 is the latest and greatest, generously adding all the most requested features from the Pyramid Polyrhythmic Sequencer’s supportive user base alongside innovative ideas from its design team to total over 30 additions. Amazingly — all the more so after so many updates, some of those are definitely destined to become an absolute game changer for live performance as well as for studio composition.

Cue edited highlights of pyraOS 3.0: new CUSTOM CHORD smart pads mode (lets users create and save their own chords); five EFFECTS per track (up from four previously); SEND CLOCK WHILE LOADING A PROJECT (keeps slaved MIDI instruments synchronised — even when the Pyramid Polyrhythmic Sequencer is loading a new project); DEFINITION FILES (lets users create custom text labels for connected synthesizers’ CC MESSAGES and NOTES, so the Pyramid Polyrhythmic Sequencer will display more meaningful text like FILTER instead of CC33 or KICK instead of C4, for example); 15 new ARPEGGIATOR styles; POLYMETRIC LOOPER (creates polymetric patterns on the fly by using or combining two or more meters, rhythms, or time signatures); DUPLICATE (duplicates or divides the track); CONSOLIDATE (writes the NOTES and CC MESSAGES computed by the effects); new SEQ mode display (includes all new sequence features); possibility to ASSIGN the touchpad, five encoders, and analogue inputs per track; EFFECT MASTER (assigns and sets FX parameters of all tracks with a single control — such as SCALE, for example); and ANALOG SYNC (synchronises and slaves the Pyramid Polyrhythmic Sequencer to an analogue clock).

Creativity can, of course, continue smoothly, since pyraOS 2.0-created projects are forward-compatible with pyraOS 3.0; indeed, its creators were careful not to change established workflow so as to make transitioning to their latest realtime processing system firmware upgrade easy and transparent for longterm users. Ultimately, then, the Pyramid Polyrhythmic Sequencer is the same as it ever was… an advanced, standalone sequencing solution full of creative tools to use as an instant source of inspiration with which to start, finish, and perform music — but better than ever before!
 

pyraOS 3.0 can be downloaded for free via the dedicated pyraOS product webpage (http://squarp.net/pyraos), where a full features list is also available.

The MKII version of the Pyramid Polyrhythmic Sequencer can be purchased for €619.00 EUR (excluding VAT) with free worldwide shipping through the dedicated online store (https://squarp.store/home/11-pyramid-sequencer.html) or via Squarp Instruments’ growing global dealership network (http://squarp.net/dealers).

For more information, please visit the dedicated Pyramid Polyrhythmic Sequencer product webpage (http://squarp.net/pyramid).

About Squarp Instruments (www.squarp.net)
Based in its inspiring workshop in Paris, France, Squarp Instruments dream up the musical interfaces of tomorrow by bringing together passionate young engineers, designers, and musicians to develop and craft avant-garde machines intended for professional and amateur artists alike. Administered by its three founders since 2013, the company pools its expertise in electronics, computer science, music theory and technique to bring something completely different to the electronic music table. That being said, its main goal is to facilitate its customers’ creative process by pushing back boundaries — from high-level production to live performance, no matter what their musical affinities are.
© 2018 Squarp SAS

Spitfire Audio announces all-new orchestral library range with opening SPITFIRE STUDIO STRINGS salvos

Spitfire Audio is proud to announce availability of SPITFIRE STUDIO STRINGS — opening a new chapter in the British music technology company’s creative story by bookmarking the first release in an all-new orchestral library range recorded in a new space as an incredibly versatile pro-end dry stage sample library, available as SPITFIRE STUDIO STRINGS and also as an extended edition in SPITFIRE STUDIO STRINGS PROFESSIONAL.
 
By choosing the crisp and vibrant setting of AIR Studios’ Studio 1, smaller and more controllable — capable of accommodating up to 45 musicians across its 140m² floating floor (with a specially designed sliding door system that allows it to be divided into acoustically separated areas) — compared to the opulence of AIR Studios’ Lyndurst Hall — helpfully accommodating a full symphony orchestra with choir as one of the largest recording rooms in the world — where Spitfire Audio has hitherto recorded an abundance of award-winning orchestral libraries in its ongoing mission to inspire a generation of music makers, this time the British music technology company is offering its fellow composers a string library with depth, detail, and focus all at once. One that will work on anything — from passionate period dramas to modern Scandi noir. Needless to say, it is as at home with quirky indie and crisp pop as it is tackling epic film and game scores.
Spitfire Audio’s all-new SPITFIRE STUDIO STRINGS package is a medium chamber (or small symphonic) ensemble recorded by section — 1st violins, 2nd violins, violas, cellos, and double basses — and available as standard (SPITFIRE STUDIO STRINGS) and extended (SPITFIRE STUDIO STRINGS PROFESSIONAL) editions. Either way, SPITFIRE STUDIO STRINGS takes its user straight to the heart of the British music technology company’s most pristine orchestral library to date with no fewer than 148 articulations across the full 30-piece (8.6.6.6.4) string section — from soaring legato and signature whispering super-flautando, right down to spiccato, hairpins, grace notes, and FX — that are as instantly compelling as they are immediately usable.

Ultimately, SPITFIRE STUDIO STRINGS PROFESSIONAL offers all of this and more, opening a musical doorway to transcendent detail and augmented creative control, courtesy of five additional MICS — C1 (Close mics), C2 (Leader close mic), T1 (Tree 1), T2 (Tree 2), A (Ambience mics), and O (Outriggers) — over and above SPITFIRE STUDIO STRINGS’ solitary Tree; two additional mixes — M1 (Mix 1) and M2 (Mix 2); large band (16.12.12.12.4); and divisi (half sections) for each section. Spitfire Audio was collectively determined to go the extra mile to offer divisi, empowering a new level of modular control in the process. Put it this way: with SPITFIRE STUDIO STRINGS PROFESSIONAL, the string orchestra is now configurable from the fibrous intimacy of dual four-piece 1st violin sections, three-piece 2nds, three-piece violas, and three-piece cellos (4.3.3.3) up to the rich power of 16.12.12.12.4 — a combination of the main sections (including basses), plus two divisi. In addition to an all-embracing 232 articulations, users can access and personalise their mix of the full microphone armoury of Abbey Road Studios Senior Engineer Simon Rhodes — six sundry setups, from pin-sharp to super-wide, picked up by the best offerings from Neumann, Schoeps, and Sennheiser, for instance.

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

of SPITFIRE STUDIO STRINGS here:

Indeed, Simon Rhodes — an absolute microphone magician with multiple GRAMMY® Awards to his notable name — was an obvious choice to helm Spitfire Audio’s all-new orchestral library range, resulting from his having worked at the highest level in film score recording, including being American composer, conductor, and orchestrator James Horner’s go-to engineer for 18 years. Blockbuster movies such as Avatar, Spectre, and Skyfall have all benefitted from his Midas touch. “For the SPITFIRE STUDIO STRINGS sessions, I used one of my tried-and-tested approaches to smaller rooms, but incorporated layers and options by using a variety of microphone setups — right down to that very close ‘Eleanor Rigby’ sound,” states the man himself — paying passing homage to the dearly departed extraordinary English record producer, arranger, composer, conductor, audio engineer, and musician George Martin, often referred to as the ‘Fifth Beatle’ by none other than Paul McCartney, and also famed for founding London’s legendary AIR Studios so beloved by Spitfire Audio.

Watch Spitfire Audio ‘composer-in-residence’ Homay Schmitz’s ‘In Action’ video

for SPITFIRE STUDIO STRINGS here:

As such, SPITFIRE STUDIO STRINGS users can choose to work with Simon Rhodes’ mix or — in the case of SPITFIRE STUDIO STRINGS PROFESSIONAL — customise to suit using the various mic options, including those two ‘Tree’ setups, both of which use Schoeps microphones. “The second uses Schoeps MK21 wide cardioids (or sub-cardioids), which are great for keeping the room sound at bay while allowing you to get a sense of distance and perspective,” tenders the engineer extraordinaire, before continuing: “This was especially important for our prized divisi recordings, where we recorded different sets of players in separate chairs, divided between inside and outside desks. With a touch of reverb on, this library is going to sound very lush and beautiful, but, at the same time, keep hold of all the detail.”

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

of SPITFIRE STUDIO STRINGS PROFESSIONAL here: 

 

Such sentiment is echoed by Spitfire Audio Director Christian Henson — himself no stranger to music-to-picture as an established composer: “I’m so proud of our new SPITFIRE STUDIO STRINGS range, which, for me, is possibly our most versatile strings library to date. The size of the library is roughly halfway between our SPITFIRE CHAMBER STRINGS range and our SPITFIRE SYMPHONIC STRINGS range, but the key here is that it’s recorded in Studio 1 at AIR Studios — not Lyndhurst Hall, so the main appeal for me is about definition and control.”

Watch Spitfire Audio Director Christian Henson’s ‘In Depth’ video

for SPITFIRE STUDIO STRINGS PROFESSIONAL here: 

 

Similarly, Spitfire Audio Director Paul Thomson — also an established composer, so, again, no stranger to music-to-picture — is thrilled at “…seeing the incredible work that has gone into creating SPITFIRE STUDIO STRINGS — something I’ve been talking about us making for six years now, with discussions predating all of our current tech, way back to the ‘basecamp’ era, so to finally be using this to write with is a pure joy!”

Watch Spitfire Audio’s artful trailer video for

SPITFIRE STUDIO STRINGS and SPITFIRE STUDIO STRINGS PROFESSIONAL

 

Joy to the world, then, as Spitfire Audio’s cherished customer base can creatively perform an even more comprehensive range of orchestral manoeuvres. As a matter of fact, the company collectively believes that SPITFIRE STUDIO STRINGS suits users of its existing ‘Lyndhurst Hall’ ranges as an essential sonic second string to their proverbial bow, but also a perfect fit for those looking to invest in a strings library that will give them the most bang for the buck — useable in the widest range of musical settings, ready for applying their personal favourite reverbs and effects. Engineering so much versatility into this library leaves little doubt: surely SPITFIRE STUDIO STRINGS is destined to become a cherished part of their music-making experience throughout the next decade!

SPITFIRE STUDIO STRINGS can be purchased and digitally downloaded for a time-limited introductory promo price of £159.00 GBP (inc. VAT)/ $199.00 USD/€199.00 EUR (inc. VAT) until September 13, 2018 — rising thereafter to an RRP of £199.00 GBP (inc. VAT)/$249.00 USD/€249.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/promotions/spitfire-studio-strings/

For more in-depth information, including a superb-sounding audio demo from Spitfire Audio Director Paul Thomson, please visit the dedicated SPITFIRE STUDIO STRINGS webpage here: https://www.spitfireaudio.com/shop/a-z/spitfire-studio-strings/

SPITFIRE STUDIO STRINGS PROFESSIONAL can be purchased and digitally downloaded for a time-limited introductory promo price of £349.00 GBP (inc. VAT)/$399.00 USD/€399.00 EUR (inc. VAT) until September 13, 2018 — rising thereafter to an RRP of £449.00 GBP (inc. VAT)/$499.00 USD/€499.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/promotions/spitfire-studio-strings-professional/

For more in-depth info, including superb-sounding audio demos from Spitfire Audio Director Christian Henson and fellow Director Paul Thomson, please visit the dedicated SPITFIRE STUDIO STRINGS PROFESSIONAL webpage here: https://www.spitfireaudio.com/shop/a-z/spitfire-studio-strings-professional/

SPITFIRE STUDIO STRINGS and SPITFIRE STUDIO STRINGS PROFESSIONAL need Native Instruments’ free KONTAKT PLAYER (5.6.8 or higher) — included in the purchase — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

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