New 96khz mixer from Allen & Heath: Avantis

Allen & Heath Announces
Third Installment in 96kHz Mixer Trilogy: Avantis

Allen & Heath has revealed its new 96kHz digital mixer, Avantis, the third to be based on the company’s XCVI FPGA engine. Avantis puts Allen & Heath’s next-generation technology in a 64 channel/42 configurable bus console, with twin Full HD touchscreens, extensive I/O options and processing from the company’s flagship dLive mixing system.

“Joining dLive and SQ, Avantis completes our trilogy of next-gen 96kHz consoles,” says Rob Clark, Allen & Heath’s Managing Director.  “Avantis takes many of the features that have made SQ and dLive so popular, putting them in a standalone 64-channel mixer that offers a new UI experience, connectivity with our Everything I/O ecosystem, and the dPack option which gives you access to our advanced dLive processing options if and when you need them.

“On top of that,” adds Rob, “we’ve taken a new approach with the industrial design, coming up with a full metal chassis that’s super-strong, lightweight and looks fantastic.”

Encased in its alloy shell and tubular frame, the Avantis control surface is centered on the two Full HD touchscreens and their corresponding rotary controls. “Having two touchscreens isn’t a new concept, but we realized we could use it to unlock exciting new possibilities, which led us to develop Continuity UI,” says Andy Bell, Allen & Heath’s R&D Director.

“Within seconds of getting hands-on with Avantis, engineers are going to appreciate the seamless flow between the physical controls and the on-screen software. You can work gains and pans on the rotaries, then at the touch of a soft key switch to EQ or dynamics across the whole strip. The console also provides a highly configurable FastGrab tab on the right-hand side of each screen, offering another way to quickly and easily access control of aux sends, EQ, compressor and FX on the currently selected channel or spot channel. “Ultimately, with Continuity UI, the engineer decides how they’d like to work, not the mixer.”

While many users will choose to pair Avantis with the 48 in / 16 out GX4816 audio expander, Avantis is part of Allen & Heath’s Everything I/O ecosystem, which means whether you’re an owner/operator looking to build a compact system, or a rental company with existing Allen & Heath stock, Avantis allows true flexibility by connecting to a huge range of audio expander hardware. Avantis is also compatible with Allen & Heath’s range of ME Personal Mixers and IP hardware remote controllers.

For local I/O, Avantis is well equipped with 12 XLR analog inputs, 12 XLR analog outputs, plus AES (Stereo in, 2x Stereo Out). Two additional I/O Ports allow Avantis to benefit from the full range of current dLive option cards, including Dante (64×64 and 128×128), Waves, gigaACE, MADI and more, expanding the scope for system integration, FoH/monitor splits and multitrack recording. Right out of the box, Avantis is loaded with processing tools designed to meet the demands of most users and applications, including compressors, EQs and Allen & Heath’s acclaimed RackExtra FX units (12 slots). Upgrading to dPack expands Avantis further with additional dLive processing including the Dyn8 dynamics engine (up to 16 instances), DEEP Compressors, and the Dual-Stage Valve preamp. dPack purchasers will automatically receive all future DEEP and FX updates free of charge, future-proofing their investment.

“In the gap between SQ and dLive, the mixer market is littered with 48kHz DSP-based ‘old-school’ consoles,” says Nic Beretta, Allen & Heath’s Head of Product. “Avantis brings next-generation performance across the board. Customers in venues, houses of worship, touring and the rental market are going to be seriously impressed by how well this ticks the boxes. It’s a really exciting mixer at a compelling price.”

Full details and spec at allen-heath.com/avantis

Avantis pricing as follows:

Mixer only: USD $9,999 MSRP
dPack add-on: USD $1,399 MAP
GX4816 Remote Expander: USD $3,999 MSRP

END

www.allen-heath.com

Waldorf Music announces availability of 128-voice, FPGA processing-powered Kyra VA Synthesizer sensation


REMAGEN, GERMANY: 
having teased the musical masses last year, then turned heads and opened ears when unveiling a preproduction prototype at The 2019 NAMM Show in Anaheim, California earlier this year, with repeat showings Stateside (at Synthplex 2019 in Burbank, California) and closer to home (at SUPERBOOTH19 in Berlin), high-quality synthesizer developer Waldorf Music is proud to announce availability of Kyra — its eagerly-awaited 128-voice, FPGA (Field Programmable Gate Array) processing-powered VA (virtual analogue) synthesizer sensation — as of October 7…


Accompanying documentation proudly proclaims that Kyra “…is one of the most powerful music synthesizers ever built.” But this is not hardware hyperbole on Waldorf Music’s part. Put it this way: with 32x oversampled hardware sound generation and 96kHz floating point sound processing providing guaranteed contention-free 128 voice channels, Kyra is guaranteed to make its musical mark as a sensational synthesizer that is as easy to use and easy on the eye as it is powerful and flexible.
From first glance it is patently obvious that Kyra is a beautifully-designed desktop VA Synthesizer — as the wording elegantly emblazoned on its eye-catching front fascia subtly states. As a truly multitimbral instrument it features eight independent ‘parts’ with up to 32 notes per PART, each effectively being a complete synthesizer with sound sources (OSC GROUP 1OSC GROUP 2SUB 1, and SUB 2); FILTERS; modulators (EGsLFOs, and MOD MATRIX); multi-effects unit (EFFECTS); and a USB 2.0 connection — can exchange MIDI (Musical Instrument Digital Interface) information, as well as send the audio from each stereo PART to a computer as eight stereo 24-bit streams at 96kHz (with 48kHz downsample mode available) and one stereo audio return from the computer supporting a single 24-bit stereo audio stream from the host DAW (Digital Audio Workstation). With that being said, the only other resource they share are the four balanced, stereo output pairs — OUT A (Right and Left),OUT B (Right and Left), OUT C (Right and Left), and OUT B (Right and Left) — using 32-bit DAC (Digital-to-Analogue Conversion) running at 96kHz sampling rate connected to four internal stereo busses and that powerful pool of 128 hardware voices. Versatility further abounds as each PART has a dedicated multi-effects unit comprising nine stereo effects modules — namely, three-band EQFormant filter, input LimiterDistortion module, Delay module, six-state PhaserChorus flanger, Stereo reverb, and output Limiter — with dedicated audio stream via USB (Universal Serial Bus).
Better still, each PART hosts a Patch from the pool available to the system. Speaking of which, Kyra has a generous Patch storage capacity of 26 banks — through to Z, each containing 128 patches. That’s a total of 3,328! The first seven banks are ‘user’ patches stored in RAM (Random Access Memory), meaning users can change them quickly and individually using the Store sequence. The remaining 19 banks are ROM (Read-Only Memory) patches that users can recall and use just like RAM patches but cannot be replaced using the Store sequence. It is, however, perfectly possible to freely copy whole banks between RAM and ROM, so all are user- programmable. And any Patch can be recalled via MIDI program changes and Bank select commands. Whatever way anyone views it, Kyra far from short-changes from a live performance perspective or when working with it in a studio setup as an alternative.
As a sensational synthesizer with a spectacular specification, Kyra doesn’t disappoint from the all-important sound standpoint, starting with two primary virtual alias-free oscillator groups (OSC GROUP 1 and OSC GROUP 2) per voice, each with Saw (sawtooth); Wave (waveform) — with no fewer than 4,096 18-bit linear PCM (Pulse Code Modulation) single-cycle 32x oversampled wavetables covering a huge range of synthetic and emulated sound sources with two wavetable sources per voice; Pulse; and noise simultaneously available. Also OSC GROUP 1 and OSC GROUP 2 each has an independent detune-able oscillator — SUB 1 and SUB 2 — with four selectable shapes and two selectable (Octave) pitches. Real Hard Sync, ring modulation, and FM (Frequency Modulation) are available between those oscillator groups.
Get this, though: switching from Wave mode — meaning Kyra adopts a virtual analogue synthesis model which has the advantage that it is easy to construct sounds using intuitive subtractive synthesis — to Hypersaw mode configures the voice to use a special algorithm comprising six real oscillators to quickly create lush-sounding soundscapes. Digging deeper, Hypersaw mode replaces Wave mode’s two oscillator groups with a single source whose tonal content is constructed with just two adjustable controls — Hypersaw Intensity and Hypersaw Spread (geometric detuning). Built entirely out of multiple, harmonically-rich sawtooth waves or ‘partials’ each adjusted to that special algorithm, the Hypersaw provides characteristic soundscapes ideal for a wide range of uses — from high-impact lead sounds through to lush, animated pads. Placed in Dual Mode, the Hypersaw has 12 real oscillator sources with an additional adjustable stereo spread.
Successfully synthesizing sound is inextricably linked with flexible filtering. Fortunately for discerning users, Kyra’s FILTERS front panel perfectly positions powerful control, creatively implementing accurate emulations of classic analogue ladder filters with 2-pole (12dB/octave) low pass (12dB LP), band pass (12dB BP), and high pass (12dB HP), plus 4-pole (24dB/octave) low pass (24dB LP), band pass (24dB BP), and high pass (24dB HP) configurations. Creatively, 128 filters are configurable for single or dual parallel (Dual Filter) true stereo operation.
Onwards and upwards, three fast-response ADSR (AttackDecaySustainRelease) envelope generators with EG Slope setting are also at hand. Helpfully, one is assigned to the VCA (Voltage Controlled Amplifier), another to the filter, while the third can be freely assigned. All are available in the MOD MATRIX (modulation matrix), itself being a six-channel affair with up to three destinations per channel giving a maximum of 18 routings. It is also worth noting that the three LFOs (Low Frequency Oscillators) — with 128 wavetable shapes, monophonic, polyphonic, random, anti-phase, and quadrature stereo phase settings — are also available in the MOD MATRIX and additionally as a MIDI clock sync source.
Creativity continues courtesy of an arpeggiator (ARP) on each PART with 128 preset patterns; UpDownRandom, and Chords modes; and an ability to synchronise to MIDI clock. Arpeggiators are aimed at live performance, primarily, but can clearly complement composition. Kyra’s ARP is an integral part of a Patch, so settings are always stored.
Far from forgetting its helpful high-resolution 256×64 pixel graphic OLED (Organic Light-Emitting Diode) display alongside the traditional array of MIDI InOut, and Thru connections — complimenting USB 2.0 — on five-pin DIN, as well as full key microtuning capability with MIDI Tuning Standard (MTS support), it is fair to say that Kyra is, indeed, one of the most powerful music synthesizers ever built… a sensational synthesizer with a spectacular specification, set to take performances and compositions to higher states of musicality and sound design! 

The Kyra VA Synthesizer is available through Waldorf Music’s growing global network of distributors (https://www.waldorfmusic.com/en/international-distributors) at an SRP (Suggested Reseller Price) of €1,843.00 EUR (excluding tax).


For more in-depth information, please visit the dedicated Kyra VA Synthesizer webpage here: https://www.waldorfmusic.com/en/kyra
Watch Waldorf’s wonderment-causing Kyra VA Synthesizer promo video here: https://youtu.be/HafV6CGS43Y 

Hammond b-3x by IK multimedia in partnership with Hammond USA and Suzuki music Corp

IK Multimedia Debuts Hammond B-3X virtual instrumentin partnership with Hammond USA and Suzuki Music Corp. of Japan

IK’s Hammond B-3X is the first real Hammond organ for Mac/PC, complete with Leslie™ speaker

Hammond B-3X - Image

September 26, 2019 – IK Multimedia announces the Hammond B-3X tonewheel organ virtual instrument. Created in close collaboration with Hammond USA and Suzuki Music Corp. of Japan, along with top Hammond artists, it meticulously recreates the sound, controls and entire effects signal path of the legendary Hammond B-3. This comprehensive approach offers a level of realism and detail that will satisfy most the discriminating B-3 fans while also offering an affordable introduction to the unique world of tonewheel organs that can be enjoyed by all levels of players.

IK’s industry-leading modeling techniques were employed to deliver fine details and nuances that passed the discerning ears of the Hammond Organ Company in Chicago. In addition to its authentic organ sound, this new instrument offers a full-rig chain including stomp effects, an extended version of IK’s Leslie® Collection with a rotary cabinet with mix-and-match amp and cabinet models plus four microphones, a parallel guitar amp with 4×12 cabinet, a mixer and three studio post effects.

Available for Mac/PC as a stand-alone application and as a virtual instrument plug-in, the Hammond B-3X offers plug and play convenience for both recording and performing.

Hammond USA Executive Vice President Peter Nguyen shared, “We’re excited about the very first official Hammond/Leslie Virtual Instrument, and the partnership with IK Multimedia which made it happen. The teams certainly captured the qualities that have made the Hammond Organ an essential part of music for the past 85 years.”

It’s all in the details
True to the hardware original, Hammond B-3X begins with 91 tonewheels, which are based on well-maintained Hammond organs that IK studied in locations around the world. These free-running tonewheels are mixed in real-time based on the notes played and drawbar levels, for authentic realism.

Hammond B-3X can be fine-tuned using IK’s detailed models of the original settings, controls and circuits, which were all approved by the Hammond Organ Company. Users can employ tonal filtering, select the independent key click, and engage the iconic Hammond percussion and chorus-vibrato circuits with advanced controls.

For deeper exploration and realistic touches, Hammond fans will appreciate a familiar simulation of the effects of “aging” components to control tonal balance, generator leakage and crosstalk, and the chorus circuit’s presence boost.

Hammond B-3X - Image

True tone, real experience
All the controls are designed to recreate the exact experience of playing a classic, hardware B-3 organ – from the order of the chorus/vibrato settings to the placement of the percussion switches. Some additional features have been included as well, for modern convenience.

The drawbars update in real-time when the inverted drawbar settings keys are selected, allowing users to save 24 custom drawbar settings per preset. For live use, a “Controls” view hides the keyboard and enlarges the drawbars and switches for less distraction while playing. MIDI assignments for modern Hammond digital organs are also included, making it plug-and-play easy to perform with everything at arm’s reach.

Extended stomp box effects
The organ feeds a 5-unit pedalboard in the STOMPS section that features overdrive, graphic EQ, stomp box-style chorus-vibrato, wah wah and spring reverb. Derived from IK’s award-winning AmpliTube and T-RackS software, these effects were carefully chosen and arranged for easy recreation of the widest range of iconic tonewheel organ sounds. They can also be assigned to MIDI control for on-stage use.

Real Leslie® sound
The signal is then sent to a CABS section that includes a choice of real Leslie amps and speakers that can be mixed and matched, along with a parallel guitar amp and 4×12 cabinet. Using technology derived from IK’s award-winning AmpliTube 4 amplifier modeling, combined with an extended version of IK’s Leslie® Collection, Hammond B-3X’s cabinet section offers a massive range of sound-shaping option tabs. They include:

  • Setup – lets users fine tune the Leslie’s slow and fast speed settings – including acceleration and deceleration – and adjust the mic distance and configuration

  • Leslie Amp – offers a selection of five Leslie power amps (or a power amp modeling off switch) and two guitar power amps to use in any of five Leslie cabinets, with full control over gain, EQ and volume

  • Leslie EQ – enables the rotary speaker to be shaped with high-pass, low-pass and parametric mid EQ

  • Guitar Amp – adds a parallel guitar amp derived from AmpliTube into the mix for use with popular rock tones used by top rock and blues players; offers full tone-shaping controls and spring reverb

  • Mixer – blends the sound of the Leslie, with independent volume and panning of both the horn and drum mics, the parallel guitar amp, and the DI organ sound for unprecedented tonal flexibility

Add professional polish
Lastly, Hammond B-3X offers three rackmount studio effects derived from IK’s T-RackS Mixing and Mastering Workstation to add a final, professional touch.

IK’s Limiter 76 FET-based compressor offers an iconic, timeless sound; the EQ-81 adds classic console tone-shaping and warmth; and a digital reverb adds a pristine sense of space.

Pricing and availability
Hammond B-3X is available from the IK Multimedia online store and from authorized IK dealers worldwide for a special introductory price of €/$199.99 (regular pricing will be €/$299.99). IK customers with qualifying registered products with a retail value of €/$99.99 or more will be eligible for special introductory crossgrade pricing of €/$149.99 (regular crossgrade pricing will be €/$199.99).

** All prices excluding taxes

For more information about Hammond B-3X, please visit: www.ikmultimedia.com/hammondb3x

To see Hammond B-3X in action: www.ikmultimedia.com/hammondb3x/video

To hear audio samples from Hammond B-3X, please visit: www.ikmultimedia.com/hammondb3x/audio

Introducing the ASM HydraSynth 8 voice Digital Wavemorphing Synthesizer

I am extremely excited and proud to announce a new synthesizer from a new company…. ASM( Ashun Sound Machines).

Over the past year or so I was fortunate enough to work on this project. Eventually it became one of the most interesting synthesizers I have seen hit the market in ages. What makes the ASM HydraSynth so special? let’s start with a run down of the bullet points first.

Hydrasynth is an 8 voice digital wavemorphing synthesizer.

you can set the led’s to the color of your choosing.

8 voices3 oscillators: 219 waveforms, custom wavetables with wavelist/wavescan function, ring mod, 3 noise colors.4 custom “mutator” sections each with 7 effects FM-lin,wavestack,PWM,PWM squeeze, PWM-ASM,Sync,Harmonic sweep. oscillators can be stereo panned.
2 Simultaneous filters that can be arranged in parallel or series. Filter 1 has 11 filter models including traditional Moog style 12 and 24db ladder filters, q compensated 12 and 24db ladder filters ala MatrixBrute, 18db slope LP,BP,HP,filters based on the Threeler eurorack filter, MS20 style HP and LP filters,LPG filter and a Vowel filterOscillators can blend into filters at varying amounts, Filter 2 is a SEM style multimode filter with morph control LP-BP-HP.dedicated analog 270 degree pots for cutoff, resonance and Drive/Morph.
5  6-stage DAHDSR  envelopes with BPM sync allowing you to sync the slope of each stage to the beat. Looping with definable number of repeats
5 LFO each with 10 waveforms + noise, delay, fade in/out, and phase. multiple trigger modes , step mode with pattern length.
32 point mod matrix with 28 sources and 188 destinations .
8 macros each with scribble strip and up to 8 destinations each. Macro buttons also allow for quick value changes.
24 polyphonic pressure after touch pads with multiple musical layouts and dedicated scale and Key configurations
arp with ratchet and chance
CV/ Gate interface with 2 mod inputs, pitch, gate, mod 1, mod2, and clock outputs.
USB and MIDI DIN I/O, thru.
sustain and expression pedal input.Stereo output,
desktop has recessed cable connections for a clean placement up against other gear.
Module select buttons reminiscent of the Ensoniq synths of the past give you immediate access to every section of the synth without menu diving. 
LCD screen doubles as a O-scope
LCD screen between knobs always lets you know what parameters you are editing and the encoders have light indicators to represent values at a glance. 
VST editor/Librarian for Mac and windows.
Home buttons always takes you back to the top level so that you never feel lost in the synth.
Random button allows you to quickly randomize any given parameter.
Pre and post FX sections with 8 FX each- Chorus, flanger, rotary, phaser, lo-fi, tremolo, EQ, and side chain able compressor.
Dedicated Delay and Reverb sections with 5 delay types and 4 reverb algorithms 

Price is $1299 for the keyboard and $799 for the desktop!

There is so much more to tell but I am tired and it is late. Follow me on instagram @Flux302 for some exclusive content!

https://www.youtube.com/watch?v=1SU48Efwvcw&feature=youtu.be
mord Fustang on the Hydrasynth

MeeBlip cubit go: 4 output midi interface with a twist

MeeBlip cubit go: easy USB MIDI interface, ultra-tight timing
 August 18, 2019 —Today, we’re announcing MeeBlip cubit go – a unique USB MIDI interface with incredibly tight timing. It’s got the ports you most often need when mobile – one input, so you can perform, and four outputs, for sending notes and/or clock. 
 Here’s the twist: we’ve integrated hardware MIDI thru circuitry on the four outputs. Anything you send to the interface’s output goes to all four jacks simultaneously. There’s no software delay – you get rock-solid, ultra-tight timing.  That makes cubit go the perfect follow-up to our cubit splitter, introduced earlier this year. You still get four outs with identical timing – but now in a USB MIDI interface you can connect to your computer or mobile device. cubit go is driverless and USB powered, so it works with any desktop OS, but also on phones and tablets (with the appropriate cables, sold separately). And the jacks are top-mounted for convenience. Just plug it in and use it – there’s nothing to install, no separate power supply needed, and nothing to worry about.
cubit go is palm-sized, lightweight, rugged, performs perfectly, and is easy to use. 
Features:1×1 USB MIDI interface with integrated hardware MIDI ThruClass-compliant USB MIDI – no drivers neededFour hardware-mirrored output jacks – no software lagHigh performance 32-bit ARM Cortex processorBright green MIDI light flashes when sending or receiving data for easy troubleshootingSize: 108 x 76 x 25 mm (4.25 x 3 x 1 inches), weighs 110 g (3.9 oz)Includes 1 m (3 ft) USB cableUSB poweredWorks with macOS, Windows, Linux, iOS and Android*Made in Canada, available only direct cubit go is available now for $59.95 US.  
Find the product page here:https://meeblip.com/collections/our-products/products/meeblip-cubit-go  Through August 23, we’re offering free worldwide shipping on cubit go and MeeBlip geode. Local tax and import duty may apply to international customers. 
Also, if you missed it, we visited the amazing Hainbach last week, and our little MeeBlip geode got to meet his giant wall of sound. It was really fun to do:https://www.youtube.com/watch?v=zWOrPTXk-XA===MeeBlip is a collaboration of James Grahame of Blipsonic and Peter Kirn of CDM (https://cdm.link). We make an award-winning series of synthesizers and accessories, so we can share the fun of making electronic music. 

Erica Synths Black Stereo Delay Review video

The Erica Synths Black Stereo Delay is a performance oriented delay that really inspires you to actually play with it live. for more info head to https://www.ericasynths.lv/shop/eurorack-modules/by-series/black-series/black-stereo-delay/

Features

  • Stereo delay with adjustable delay time
  • Tape, digital and ping-pong delay modes
  • Tap and clock synchronization of delay time
  • Reverse delay mode
  • Hold mode (samples up to 40” of audio) with Add (overdub) feature
  • Trigger control over Hold, Add and Reverse
  • CV control over delay time, dry/wet mix and feedback
  • Feedback path soft limiting compression
  • Add to hold soft limiting compression
  • Adjustable stereo delay spread
  • Firmware update via audio bootloader

Technical specifications:

Max audio input level  before clipping 16Vptp
Trigger inputs 0-8V (min 2V for high level)
CV input range (full span)-5V – +5V
Frequency range5Hz..24kHz
Sampling frequency48kHz, 24bit
Delay time3..3000 ms
Audio codecs-108 dynamic range, -98dB THD+N
Power consumption+162mA, -62mA
Module width16HP
Module depth37mm

Erica synths black stereo delay now shipping

Erica Synths Black Stereo Delay Now Shipping
New Black Stereo Delay is full of unique features and soundRiga, Latvia, June 13, 2019 — Tape and digital modes of delay, hold with overdub and delicate delay time and feedback control — in combination with CV and trigger control over various parameters — make the new Black Stereo Delay module from Erica Synths not only a great effects unit for your modular system, but also an instrument on it’s own.


Black Stereo Delay is a hi-fi stereo delay based on Erica Synths’ own custom DSP engine. It includes several different digital and ping-pong modes of delay, hold with overdub and feedback control and other features making it a versatile addition to almost any rack. Black Stereo Delay’s features include: Stereo delay with adjustable delay timeTape, digital and ping-pong delay modesTap and clock synchronization of delay timeReverse delay modeHold mode (samples up to 40” of audio) with Add (overdub) featureTrigger control over Hold, Add and ReverseCV control over delay time, dry/wet mix and feedbackFeedback path soft limiting compressionAdd to hold soft limiting compressionAdjustable stereo delay spreadFirmware update via audio bootloaderBlack Stereo Delay is available now and priced at € 310.00.  For more information, please visit the Erica Synths Black Stereo Delay product page
ABOUT ERICA SYNTHS
Erica Synths team of visionaries, engineers and musicians have been working hard to bring you modules and instruments that will set your modular system apart from mass in terms of how it sounds, looks and functions.