Empirical Labs releases Rev 3 of AROUSOR

Empirical Labs releases Rev 3 of AROUSOR™ as ultimate evolution of flagship compressor plug-in with more Distressor-based tones “The plug-in is a game changer ITB; I have, for a very long time, been a fan of the Distresser on snare, and now I have that again.”


“The plug-in is a game changer ITB; I have, for a very long time, been a fan of the Distresser on snare, and now I have that again.” 
– GRAMMY® Award-nominated record producer, engineer, and mixer Jacquire King, 2021


LAKE HIAWATHA, NJ, USA: Empirical Labs Inc. (ELI) is proud to announce availability of AROUSORRev 3 — the ultimate evolution of its flagship compressor plug-in, introducing more tones based on its Distressor hardware counterpart, itself one of the best-selling high-end compressors of all time as the product that started it all for the professional audio signal processing equipment designer and manufacturer/plug-ins producer, with the addition of two Opto (and B) compression modes, as well as two additional (6:5:1 and 7:1) ratios for even more dynamic possibilities, available for free to existing owners of AROUSOR as the update they have been waiting for — as of March 30…

Being borne out of ELI founder Dave Derr’s love of classic compressors like the 1176, LA-2A, and Gain Brain (amongst others), the Distressor incorporates his favourite sonic characteristics of outstanding outboard originally released way back when with other unique and interesting features that have made it a staple for audio engineers all over the world as one of the best-selling high-end compressors of all-time. It is inevitable that such a popular product would one day receive the plug-in treatment, taking the soul of the company’s professional audio signal processing equipment hardware and applying it to the wonderful world of ITB (in the box) workflow within a DAW (Digital Audio Workstation), albeit AROUSOR is the only native Distressor plug-in produced by ELI itself. As a new and improved (EL8-X) version of the Distressor increased its tonality with the addition of new features, so AROUSORRev 3 — the ultimate evolution of ELI’s flagship compressor plug-in — introduces more tones based on its Distressor hardware counterpart.

Kicking off with two Opto (and B) compression modes based on the time constants of a classic and a modern LA-2A compressor that many existing owners of AROUSOR have been waiting for — it is, after all, a much-loved Distressor feature, noteworthy new additions to AROUSORRev 3 also include a SOFT CLIPPING expert (e) panel — allows for introducing more second harmonic distortion and an ability to place the compressor input before or after the soft clipping circuit; a Listen mode — to hear what frequencies are affecting the DETECTOR SIDECHAIN EQ’s compression detector; additional 6:5:1 and 7:1 ratios (accessible by enabling ALT mode in the RATIO section) — for even more dynamic possibilities; and an enlargeable GUI (Graphical User Interface) — to double its original size for more comfortable onscreen editing.

ELI’s classic knee compression with proprietary high-resolution detector modelling remains at the heart of everything AROUSORRev 3 does so well, with 12 unique compression ratios, including the famous brick wall — RIVET mode in AROUSOR-speak — for maximum gain reduction. Remaining features well worth highlighting here are an adjustable broadband SOFT CLIPPING control — for introducing warm saturation; a unique AtMod ATTACK MODIFICATION control — to change the shape of the initial attack; an advanced high-pass/band-pass DETECTOR SIDECHAIN EQ — for fine-tuning compression detector response; and Mix knob with (panel-enabled) Dry Level Trim — for parallel compression.

As the update existing owners have been waiting for, AROUSORRev 3 has brought the legendary tone of ELI’s analogue hardware into the digital realm with even more possibilities as an ITB game-changer… just ask Jacquire King, whose work with the likes of James Bay, Kings of Leon, and Shania Twain has received 30-plus GRAMMY® Award nominations to date! 


AROUSOR Rev 3 is available for purchase as an AAX-, AU-, VST2-, and VST3-supporting 64-bit effect plug-in for macOS (10.7 or higher) and AAX-, VST2-, and VST3-supporting 64-bit effect plug-in for Windows (7 or higher) for a time-limited introductory promo price of $129.00 USD for the first 10 days — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $199.00 USD — directly from ELI here: https://www.empiricallabs.com/product/arousor/

A fully-functional, 15-day trial of AROUSOR Rev 3 is available to download from here: http://www.empiricallabs.com/downloads/

An iLok account is required for activating both the demo and full versions of AROUSOR Rev 3 via iLok Cloud or using an iLok 2 or iLok 3 USB dongle. (Pleasenote that ELI’s BIG FrEQ EQ plug-in — partially extrapolated from its much-loved Lil FreQ hardware EQ — is now also iLok Cloud compatible in its latest update.) For more in-depth information, please visit ELI’s dedicated AROUSOR webpage here: https://www.empiricallabs.com/product/arousor/ 

XILS-Lab debutes new FM and VA synth plug in


XILS-lab creates KaoX as virtual instrument inspired by legendary FM synthesizer bolstered by virtual analogue and chaotic algorithms


GRENOBLE, FRANCE: 
virtual instrument- and effect plug-in-specialising software company XILS-lab is proud to announce availability of KaoX — a virtual instrument inspired by a legendary FM (Frequency Modulation) synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather — as of April 12…


To appreciate its iconic inspiration is to truly appreciate the power of KaoXXILS-lab’s latest virtual instrument. Indeed, the early-Eighties synthesizer market was dominated by analogue synthesizers using analogue circuits and analogue signals to generate sounds electronically, which, when made available as programmable polysynths with patch storage, were costly with limited polyphony. Putting paid to that dominance, an Eighties-dominating 16-voice FM synthesizer changed course — changing the course of musical history in the process — by generating sounds via frequency modulation, a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. Mass manufactured using very-large- scale integration chips by a Japanese giant of a company who had licensed the technology from Stanford University, California — composer, musician, and professor John Chowning developed the digital implementation of FM synthesis while there, the world’s first commercially-successful digital synthesizer subsequently sold over 200,000 units within three years — around 20 times more than the most iconic analogue synthesizer of all time sold in its impressive decade-long lifespan — and its preset sounds soon became staples of the Eighties pop pantheon with E PIANO 1 purportedly ending up on 40% of the US Billboard Hot 100 chart toppers throughout 1986. Therein lay the rub. Really complex menus and a lack of conventional controls meant that few learned to program the comparatively keenly-priced instrument in depth — despite FM synthesis lending itself to creating brighter, glassier sounds, as well as imitative acoustic sounds so much better than its instantly unfashionable analogue adversaries, programmable polyphonic or otherwise. Of course, fashions change with time and technology; the instrument in question has long since fallen out of favour. Although analogue synthesizers — somewhat ironically — are now more commonplace than they ever were with a perceived warmth of sound and appealing hands-on control working in their favour, the convenience of an ITB (in the box) workflow with DAW-driven virtual instruments and effect plug-ins has far from lost its appeal for today’s music-making masses. Time to revisit the wonderful world of FM synthesis with a modern-day twist? Knowingly, KaoX does just that. After all, as a virtual instrument- and effect plug-in-specialising software company, XILS-lab loves to create tools that inspire its users to create more imaginative music than they ever dreamed possible!
Put it this way: with KaoXXILS-lab has created a virtual instrument inspired by that legendary FM synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather since said signal path is easily understood through the use of illuminated modules in a GUI (Graphical User Interface) that is equally easy on the eye. KaoX’s knowing nod towards the preset-powered popularity of its iconic FM forefather is immediately obvious for all to see and hear in an easy-to-tweak simplified view allowing its UP (upper) and LO (lower) synthesizer layers — each with independent synthesis modules — to be combined in three different ways. Working in single mode, only the selected layer is active and heard, while both layers are active and heard in SPLIT and DOUBLE modes — the lower part of the keyboard playing the LO layer and the upper part of the keyboard playing the UP layer in the case of the former, while both the UP and LO layers are simultaneously played across the keyboard in the case of the latter. Limited controls are available in this simplified view, including TUNEDRIFTGLIDEVIBRATOFREQ (vibrato frequency), DEPTH (vibrato), (wheel), TREMOLOFREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUSDELAYPHASER, and REVERB effects, enabling users to easily play presets and to tweak them accordingly — adding vibrato and tremolo or switching effects on and off, for instance.
Alternatively, activating an advanced settings view brings the wonderful world of KaoX into full view, allowing more adventurous users access to the virtual instrument’s internal modules to tweak or change any parameter therein, aided by contextual help windows, while active modules are helpfully illuminated. FM synthesis options are available on each of the two available layers with eight operators grouped in two banks with independent pitch — perfect for creating chorus-like FM sounds or punchy stereo patches — and two outputs (O1 and O2). Each FM OPERATOR features one LFO (Low Frequency Oscillator), one envelope, WHEEL and VEL (velocity aftertouch) access, two user-definable external modulators (assignable to any KaoX modulation source), KEYB (keyboard follower) 2D pad, RATIO or FIXED frequency selection, and a lowpass filter. Furthermore, virtual analogue synthesis options are also available on each of the two available layers with two continuous waveform analogue oscillators (ANALOG OSCILLATOR 1 and ANALOG OSCILLATOR 2), two zero-delay-like analogue filters (FILTER 1 and FILTER 2), four D-ADSR envelopes, and four VCA outputs for bringing a depth and warmth to the sound creation table. That said, KaoX also allows its users to create sounds that they had never thought possible, thanks to two chaotic oscillators (CHAOS OSCILLATOR 1 and CHAOS OSCILLATOR 2) and two chaotic ring modulators (CHAOX 1 and CHAOX 2). And as if that was not enough to keep committed sound creators seriously satisfied, KaoX comes complete with a flexible four-track step SEQUENCER, where each track can be assigned to the UP or LO layer with independent sustain and gating or used as a modulation source.
Sound-wise, KaoX comes packed with 500-plus presets programmed by world-class sound designers Mikael Adle, Soundsdivine, Status, Nori Ubukata, Tom Wolfe, Xenos, Yuli-Yolo, Zensound, and many more — more than enough to point anyone of any ability in the general direction of where they might musically want to go. Getting there is made much easier with its integrated single-window preset manager making finding the right patch for the task, managing presets and sound banks, as well as creating custom tags, an efficient easy-going experience that could barely be dreamt of back in the early Eighties. Today the time has clearly come to revisit the wonderful world of FM synthesis with a modern-day twist and appreciate the power of KaoXXILS- lab’s latest virtual instrument par excellence — from France with love… and all without the need for very-large-scale integration chip mass manufacture! 



KaoX 
is available to purchase as an iLok (2 and 3 dongle hardware or software) protected plug-in priced at an introductory promo price of €99.00 EUR until May 15, 2021 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of €179.00 EUR — directly from XILS-lab via the dedicated KaoX webpage (https://www.xils-lab.com/products/kaox-p-168.html), which also includes more in-depth information. 


KaoX can be directly downloaded as a multi-format AAX, AU, and VST (Mac OS X 10.8 and later) and AAX and VST (Windows 7, 8, and 10) plug-in from here: https://www.xils-lab.com/products/kaox-p-168/download.html

Listen to several KaoS-showcasing demo tracks providing the soundtrack to XILS-labs’ latest teaser video here: https://youtu.be/qeZJvGe6a4Y 

Midiverse Modular Launches Passive Utility Modules and Eurorack Frame

Ohio-based synthesizer builders Midiverse Modular are now shipping passive utility modules and 19in rack mountable frames for the Eurorack ecosystem.

MVM001 Multiple: MVM001 is a 4HP passive multiple that is suitable for audio or CV. Jack 1 is normalized to jack 5, allowing for a 1×6 or 2×3 configuration.

MVM002 Switches: MVM002 is a dual bi-directional manual switch in a 4HP module. The switches are conveniently located at the bottom of the module, making hands on control over the routing of your patch right at your fingertips.

MVM003 Attenuators: MVM003 is a 6HP passive 3-channel attenuator module. The inputs are normalized downward, allowing for a single input signal to be distributed to all 3 attenuator channels.

Available now @ https://reverb.com/shop/midiverse

Questions and inquires: MidiverseTV@gmail.com

Erica Synths announces three new filter modules

Black Low Pass VCF, Black High Pass VCF and Black Filter Coupler will appeal to analog purists and sound designers

Erica Synths announces three new filter modules

Erica Synths announces three new filter modules

Black Low Pass VCF, Black High Pass VCF and Black Filter Coupler will appeal to analog purists and sound designers

Riga, Latvia, April 15, 2021 — Erica Synths announces three new filter modules: Black Low Pass VCFBlack High Pass VCF and Black Filter Coupler.  All three modules are shipping now and available on the Erica Synths webshop and through authorized dealers.

Story image

Analog purity and performance stability
The Erica Synths Black Low Pass VCF is designed for analog purists who take sound design seriously. It is a highly stable, 24dB/oct resonant low pass VCF with voltage control over cutoff and resonance. Bonus features include a post-filter overdrive circuit with user adjustable drive amount and the Black Filter Coupler connector.

Black Low Pass VCF features:

  • Voltage control over cutoff and resonance
  • Gain loss compensation on high resonance
  • Cutoff CV attenuverter
  • Adjustable post-filter overdrive circuit
  • Filter coupler connector
Story image

Meantime, the Black High Pass VCF is also designed for analog purists who take sound design seriously. It is a highly stable, 24dB/oct resonant high pass VCF with voltage control over cutoff and resonance. Bonus features include a built in post-filter overdrive circuit with user adjustable drive amount and the Black Filter Coupler connector.

Black High Pass VCF features:

  • Voltage control over cutoff and resonance
  • Gain loss compensation on high resonance
  • Cutoff CV attenuverter
  • Adjustable post filter overdrive circuit
Story image

Finally, the Black Filter Coupler is a satellite module to the Black High Pass VCF and the Black Low Pass VCF. It adds Bandpass and Band Reject filter functionality, both with adjustable center frequency and bandwidth, while both VCFs still can operate on their own. All modules have manual and CV control over all parameters; this adds unprecedented nuances in sound design for your modular system.

Black Filter Coupler features:

  • Bandpass and Band reject filters
  • Manually adjustable center frequency and bandwidth
  • Voltage control over center frequency and bandwidth

Please note: the Black Filter Coupler is designed to work exclusively with both the Black High pass VCF and the Black Low Pass VCF.

The Black Low Pass VCF, Black High Pass VCF and Black Filter Coupler are available now and priced at $189, $189 and $109 respectively.  For more information or to order, please visit the Erica Synths webshop.

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.

Jeff Touzeau

Jeff TouzeauPublic Relations, Hummingbird Media, Inc.

Erica Synths Announces Black VCO2 Eurorack ModuleAn analogue VCO with four simultaneous waveform outputs and one octave down suboscillatorErica Synths Introduces Black LPGNew module is extremely versatile, featuring 2nd order lowpass VCFErica Synths Announces Black Quad VCA2The Black Quad VCA Eurorack module is back — with improved functionality

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.Get updates in your mailbox SubscribeThis site is protected by hCaptcha and its Privacy Policy and Terms of Service apply.

Erica Synths
Andrejostas 43,
Riga LV-1045
Latvia

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Riga, Latvia, April 15, 2021 — Erica Synths announces three new filter modules: Black Low Pass VCFBlack High Pass VCF and Black Filter Coupler.  All three modules are shipping now and available on the Erica Synths webshop and through authorized dealers.

Story image

Analog purity and performance stability
The Erica Synths Black Low Pass VCF is designed for analog purists who take sound design seriously. It is a highly stable, 24dB/oct resonant low pass VCF with voltage control over cutoff and resonance. Bonus features include a post-filter overdrive circuit with user adjustable drive amount and the Black Filter Coupler connector.

Black Low Pass VCF features:

  • Voltage control over cutoff and resonance
  • Gain loss compensation on high resonance
  • Cutoff CV attenuverter
  • Adjustable post-filter overdrive circuit
  • Filter coupler connector
Story image

Meantime, the Black High Pass VCF is also designed for analog purists who take sound design seriously. It is a highly stable, 24dB/oct resonant high pass VCF with voltage control over cutoff and resonance. Bonus features include a built in post-filter overdrive circuit with user adjustable drive amount and the Black Filter Coupler connector.

Black High Pass VCF features:

  • Voltage control over cutoff and resonance
  • Gain loss compensation on high resonance
  • Cutoff CV attenuverter
  • Adjustable post filter overdrive circuit
Story image

Finally, the Black Filter Coupler is a satellite module to the Black High Pass VCF and the Black Low Pass VCF. It adds Bandpass and Band Reject filter functionality, both with adjustable center frequency and bandwidth, while both VCFs still can operate on their own. All modules have manual and CV control over all parameters; this adds unprecedented nuances in sound design for your modular system.

Black Filter Coupler features:

  • Bandpass and Band reject filters
  • Manually adjustable center frequency and bandwidth
  • Voltage control over center frequency and bandwidth

Please note: the Black Filter Coupler is designed to work exclusively with both the Black High pass VCF and the Black Low Pass VCF.

The Black Low Pass VCF, Black High Pass VCF and Black Filter Coupler are available now and priced at $189, $189 and $109 respectively.  For more information or to order, please visit the Erica Synths webshop.

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.

BFD celebrates New website with software update and more

BFD CELEBRATES LAUNCH OF NEW WEBSITE WITH SOFTWARE UPDATE, NEW USER PORTAL, AND EXPANSION PACK OFFER

Fort Lauderdale, FL US (April 19, 2021) – BFD, the recognized leader of virtual drum software products, today launched their new website, bfddrums.com. The new website will serve as the online hub for all things BFD, including an online store, inMusic Profile management, and more. This new website is BFD’s first major step towards solidifying a new brand image since being acquired by inMusic, the global leader in music production hardware, software, and consumer electronics.

Free Expansion Pack for Existing BFD3 Users

To celebrate the launch of the new site, BFD is offering a free Expansion Pack to all existing BFD3 users who migrate over to the new site. To begin the migration, BFD asks that all customers log into their existing accounts on fxpansion.com. Once logged in, users will see the option to automatically migrate their data to a new inMusic Profile on bfddrums.com. After following a few short steps, user information will be permanently moved to the new site and BFD3 users will have access to a free Expansion Pack among their existing BFD3 products. An inMusic Profile on bfddrums.com is required to continue receiving updates and support for BFD3 and its compatible Expansions and Groove Packs.

BFD3 (v3.4) Update

In addition to a new website and Expansion Pack offer, there is also an update to the core BFD3 software. BFD3 (v3.4) introduces a number of under-the-hood improvements as well as an all new per- voice Envelope Shaper and a suite of high-quality effects from AIR Music Technology. The brand new Envelope Shaper is one of the most versatile sound design tools ever included with a virtual drum instrument, empowering users to further shape the transients of each individual BFD3 kit piece to taste. For almost two decades, AIR Music Technology has been creating industry-standard effects plugins covering a vast assortment of dynamic and time-based use-cases. The BFD3 now has thirteen of the most popular AIR effects built-in:

  • AIR Compressor
  • AIR Lo-Fi (Decimator)
  • AIR Distortion
  • AIR Dyn3Compressor
  • AIR Economy Reverb
  • AIR Expander
  • AIR Maximizer
  • AIR Non-Linear Reverb
  • AIR Saturation Filter
  • AIR Spring Reverb
  • AIR Stereo Reverb
  • AIR Transient
  • AIR Tube Driver About BFD

###

Since 2003, BFD has been the virtual drum software of choice for producers, mix engineers, songwriters, and electronic drummers around the world. The original BFD software pioneered a new way of approaching software drums by delivering expressive articulations, rich timbral detail, and in-depth mixing options. BFD has continued to release an ever-increasing library of expansions packs, cementing this software instrument as the world’s largest collection of acoustic drum samples and the most flexible and feature-packed software drum solution on the market.

About inMusic

inMusic is a family of 16 premier brands that includes AIR Music TechnologyTM, Akai Professional®, Alesis®, Alto Professional®, Denon® DJ, Denon® Professional, HeadRush®, ION® Audio, M-Audio®, Marantz® Professional, MARQ® Lighting, MixMeister®, Numark®, Rane®, SONiVOX® and SoundSwitch®.

Nembrini Audio sends shimmers down DAWs

Nembrini Audio sends shimmers down DAWs with out-of-this-world soundscapes- and spaces-creating Shimmer Delay Ambient Machine plug-in 


PAVIA, ITALY: analogue saturation circuits digital reproduction specialist Nembrini Audio is proud to announce availability of Shimmer Delay Ambient Machine — sending shimmers down DAWs (Digital Audio Workstations) by combining reverb, pitch shifting, and feedback to create out-of-this-world soundscapes and spaces as a plug-in promoting getting lost in the creative production and electronic music facets of the ambient spectrum, drawing deeply from creative techniques developed by early-Eighties studio engineers — as of April 19…

Prominently popularised by British musician Brian Eno — effectively responsible for naming the genre itself with his 1978- released Ambient 1: Music For Airports album (comprising compositions created by layering tape loops of differing lengths, designed to be continuously looped as a sound installation with the intent of defusing the tense, anxious atmosphere of an airport), ambient music is typically thought of as a style of gentle, largely electronic instrumental music with no persistent beat, used to create or enhance a mood or atmosphere. No need (necessarily) to go anywhere near an airport terminal to work with Nembrini Audio’s self-styled ambient machine, although it is perfectly possible to achieve a truly ambient atmosphere almost anywhere since Shimmer Delay Ambient Machine is also available in an iOS-friendly form on the App Store (https://apps.apple.com/us/app/shimmer-delay-ambient-machine/id1559249944).
No need (necessarily) to work without beats when working with Shimmer Delay Ambient Machine. After all, the plug-in promotes getting lost in the creative production and electronic music facets of the ambient spectrum, drawing deeply from creative techniques developed by early-Eighties studio engineers. Equally adept at working with guitars, keyboards, synthesisers, and vocals, it combines reverb, pitch shifting, and feedback to create out-of-this-world soundscapes and spaces via an easy-to-use interface implemented as an equally easy-on-the-eye experience, emphasising user control and playability. Indeed, it is designed to be tweaked in real-time with no-nonsense controls clearly guiding the way with some self-explanatory sections acting as their helpful home — namely, IN (input level metering); SWELL (auto-volume swell commonly used with electric guitar, similar to the sound of a violin being bowed); DELAY (main delay); down OCTAVE (manages a down octave); SHIMMER (manages the shimmer effect); DRY/WET (manages the dry/wet signal blend); and OUT (output level metering). Moreover, all controls have a smoothed response to avoid clicks when changing settings or applying automation, while the highly-optimised main delay algorithm allows anyone to achieve huge delay sounds without straining their CPU (Central Processing Unit).
Ultimately, Shimmer Delay Ambient Machine more than lives up to its apt appellation — and all without straining the finances of anyone wishing to take a (purchasing) plunge into the creative production and electronic music facets of the ambient spectrum! 

Shimmer Delay Ambient Machine is available for purchase (as an iLok-protected AAX-, AU-, VST2-, and VST3-supporting plug-in for macOS 10.9 or newer and Windows 7 or newer) at an attractive introductory price of only $29.00 USD until May 3, 2021 — rising thereafter to a regular price of $79.00 USD — from its dedicated webpage (https://www.nembriniaudio.com/products/shimmer-delay-ambient-machine), which also includes more in-depth information.

Flexibility further abounds as Shimmer Delay Ambient Machine is also available in AuV3 format for iOS at an introductory price of $4.99 USD until May 3, 2021 — rising thereafter to a regular price of $8.99 USD — on the App Store from here: https://apps.apple.com/us/app/shimmer-delay-ambient-machine/id1559249944
Get lost in the creative production and electronic music facets of the ambient spectrum while watching Nembrini Audio’s mellow mood-setting Shimmer Delay Ambient Machine trailer video here: https://youtu.be/xZFMkeqAIeA

Analog Solutions Leipzig v3 gets a facelift for desktop

Analogue Solutions stylishly reshapes discontinued design to release redesigned Leipzig v3 as advanced Analogue Synthesiser




KINGSWINFORD, UK: 
British boutique electronic instruments innovator Analogue Solutions is proud to announce availability of Leipzig v3 — an advanced Analogue Synthesiser stylishly reshaped as a desktop design drawing deeply from the DNA of the rack-mountable Leipzig-S analogue synth/sequencer, a discontinued design dating back to 2011 and effectively now made better by redesign to improve reliability, quality, and other manufacturing considerations, as well as adding several notable new features — as of April 5…


As a desktop device duly delivering a better fit, format-wise, for present-day production preference, Leipzig v3 takes its (re)design cues from Analogue Solutions’ 2019-introduced Impulse Command — critically acclaimed as a true stereo, semi-modular analogue synthesiser/sonic realiser conceivably capable of sounding like several synthesisers simultaneously playing, perfectly-packaged as a desktop device — yet readily retains the same angry, analogue sound as its rack-mountable (Leipzig-S) predecessor, popularised itself by bona fide synth-pop pioneer Vince Clarke, long-standing Gary Numan producer Ade Fenton, and Nine Inch Nails main man Trent Reznor, all appreciative of the pure analogue voice and modulation circuitry — circuits based on superlative-sounding Seventies-vintage designs, so no quantisation for CPU (Central Processing Unit) reading required, in other words — with extensive routing possibilities, fat-sounding Moog-style filter, two VCOs (Voltage-Controlled Oscillators), and analogue step sequencer on offer to discerning disciples, distinguished or otherwise.
Obvious change of form factor duly dealt with, several notable features new to the resulting (non-rack-mountable) Leipzig v3 desktop design are well worth highlighting here from the get-go. Firstly, flexibility is increased when accessing a healthy number of self-explanatory CV (Control Voltage) patch points positioned directly on the top panel as Eurorack patch cable-compatible 3.5mm mini (mono) jack sockets, so Leipzig v3 can be both cross patched within itself and also to external Eurorack modular synthesisers.

Increased INPUT connectivity comes courtesy of MASTER PITCH MOD — modulates the pitch of both VCOs; VCO 2 PITCH MOD — modulates the pitch of VCO 2 only; CUTOFF MOD — modulates the VC LPF (Voltage-Controlled Low-Pass Filter) CUTOFF frequency; EG TRIG — triggers both (ENV 1 and ENV 2) envelope generators (upon receiving a trigger or gate signal); and EXT SIG (external signal) — an audio signal (routed to the MIXER via an associated EXT switch) or clock signal (used to clock the CV SEQUENCER from an external device when the SYNC SOURCE selector is turned to EXT). Equally accessible are the following OUTPUT-dedicated patch points: SEQ SYNC — similar to a through clock, copying the clock signal selected to clock the CV SEQUENCER, so it can be ‘thru-d’ to another device to synchronise them together; LFO triangle and square signal outputs; envelope generator and signal outputs; and SEQ CV — control voltage output from the CV SEQUENCER.


Speaking of the latter, the capabilities of an already-capable eight-step analogue sequencer — surely wasted when only used to create simple- sounding (MIDI-transposable) melodies or percussive loops when it can also act as a musical modulation source to step through striking sound changes (courtesy of the output CV being routed to VCO 1 pitch, VCO 2 pitch, and VCF cutoff with associated adjustable DESTINATION levels) — have helpfully been extended to turn off VCO 2 (square wave only) on selected steps by activating the RHY(thm) toggle switch and manually stepping through the CV SEQUENCER using the STEP push button, then toggling VCO 2 on or off using the RHYTHM push button; consequently, VCO 2 will only sound when the RHYTHM button LED (Light Emitting Diode) is lit, which, when used in conjunction with VCO 1 still sounding on every step, creates the illusion of more than one synthesiser playing! But briefly stepping out of the wonderful world of analogue, Leipzig v3 also has a ‘hidden’ dynamic (digital) 16-step sequencer that constantly stores every note played in via MIDI into volatile memory as a 16-step loop. It is always locked in sync with the analogue sequencer and new notes can be entered into the 16-step loop while the sequencers are running, permitting patterns to be constantly changed on the fly. Straightforward synchronisation of the sequencer to a DAW (Digital Audio Workstation) is perfectly possible by simply sending it MIDI Note 000; as such, it can be clocked at any tempo (and also divided down relative to the DAW’s tempo), stopped, started, and muted from the DAW itself — impossible with MIDI Sync, so something of an added bonus in itself for Leipzig v3 owners.
Other tweaks to the contemporary desktop design implemented in Leipzig v3 are comparatively subtle, such as a top panel-positioned (3.5mm mini jack) headphone output and rear panel-positioned power switch that is illuminated.
Illuminating additions aside, although Leipzig v3 clearly comprises some special features, fortunately its general architecture, signal flow — VC OSCILLATORS MIXER VC LPF MODULATION ENV 1 ENV 2 VCA, et al — and control nomenclature is still fairly standard, so the synthesiser itself is fairly straightforward to use.


Ultimately, Leipzig v3 sounds huge — especially evident when pressed into playing bass parts, at which it really reigns supreme. Sonic enrichments further abound as the MIXER and VC LPF sections can both be really overdriven, lending Leipzig v3 a really hard sound. Saying that, this of course can be toned down and softer synth sounds are also achievable — as, indeed, is everything in-between. Besides bass sounds, Leipzig v3 equally excels at creating electronic percussion — not just sounds, but also percussive loops, thanks to the flexibility of that onboard step sequencer. Percussive patterns can be quickly created and synchronised to — or recorded directly into — a DAW. As a semi-modular mainstay, Leipzig v3 can capably create leads, effects, modular-style sounds, and more, making it an ideal investment for anyone budgeting for only one analogue synthesiser since it covers so many basses… and bass sounds! 

Leipzig v3 is available to purchase — priced at £1,018.80 GBP (including VAT) — directly from Analogue Solutions via the dedicated Leipzig v3 webpage (https://www.analoguesolutions.com/leipzigv3), which also includes more in-depth information.


Please note that Analogue Solutions cannot ship to Austria, Belgium, France, Germany, Holland, Luxembourg, Switzerland, or the United States since those countries are serviced by dedicated distributors, but outside of those countries it is possible to order directly from Analogue Solutions’ growing global network of authorised dealers (https://www.analoguesolutions.com/dealers) with whom Leipzig v3 will be available at a European SSP (Suggested Selling Price) of €1,179.00 EUR (including VAT) and an a MAP (Minimum Advertised Price) of $1,199.00 USD.
See and hear Leipzig v3 being put through its impressive paces in Analogue Solutions’ sonically-diverse demonstration video here:https://youtu.be/ktsfxTF5jx8 

Focal Adds to the affordable Alpha Evo monitor line with two new entries

Focal Releases Two New “Alpha Evo” MonitorsNew affordable Focal monitors offer 5-inch and 6.5-inch drivers


Montreal, Canada — March 25, 2021 — Today Focal has announced that it is shipping the new Alpha Evo monitors, Alpha 50 Evo, and Alpha 65 Evo. These replace the current Focal Alpha 50 and 65 models in that range, while the current Alpha 80 are still available. The two new Focal Alpha Evo products are available at retailers in the US and Canada on March 25, 2021, and have suggested retail prices of Alpha 50 Evo $349. USD each, and Alpha 65 Evo $449. USD each. 

Alpha Evo 6.5

Focal evolves its Alpha range with the newly unveiled Alpha Evo. New features, new technologies, new design: The Alpha 50 Evo and Alpha 65 Evo studio monitors offer high performance at a price unrivaled in their market, providing ultra-powerful, professional tools to more people than ever. With these new products, the French brand showcases once again its sound expertise and its position as a global leader. 

Performance & Versatility
Dedicated to music creation and all reproduction, the Alpha 50 Evo and Alpha 65 Evo offer excellent sound coherence, no matter where a user is listening. For renewed performance, Focal has chosen an aluminum inverted dome tweeter to ensure vast sound dispersion, as well as the Slatefiber cone. This recycled carbon cone, produced exclusively by the French brand at its Saint-Étienne workshops, has been chosen for its neutrality and dynamics. Focal is constantly renewing its offerings, drawing on its acoustics expertise of over 40-years and its innovation capacity. This is demonstrated by the new large laminar port, which limits distortion noise. 

New Features: Evo for Evolution. 
The Alpha Evo monitors boast a new ?-inch (6.35mm) TRS input jack, in addition to the XLR and RCA analog inputs, an automatic standby mode that can now be switched off by the user, and inserts for wall and ceiling fastening. All these new features make Alpha Evo a truly versatile monitor range for Mixing, Mastering, DJs, and Broadcast. In terms of amplification, the monitors are each equipped with two class D amplifiers. The high current capacity of these amplifiers allows full control of the signal dynamics. They also allow high volumes to be reached without distortion. Each of the loudspeakers picks up the smallest details in the mix, across all musical styles. 

Design and Cabinet-Making 
The monitors feature a 5/8-inch (15mm)-thick MDF cabinet and incorporate internal braces to ensure it is highly robust, even at the highest levels of acoustic pressure. The bass-reflex design has been used to ensure easy acoustic integration in even the most cramped spaces. In terms of aesthetics, the traditional cube monitor shape makes way for rounded contours. The side panels create a sophisticated, robust, and modern design which contributes to excellent acoustics and a unique and harmonious signature style across the collections. 

Key features of Focal Alpha Evo monitors: 
* Excellent dynamics 
* Wide dispersion enabling the same sound to be maintained throughout the entire room 
* Slatefiber cone manufactured in France 
* Identical tonal balance at both low and high volume 
* Connect up to 3 audio sources 
* Inserts for wall fastening 
* Automatic standby mode can now be switched off by the user
* Protective grills included 

The new Focal Alpha Evo products are available at retailers in the US and Canada on March 25, 2021, and have suggested retail prices of Alpha 50 Evo $349. USD each, and Alpha 65 Evo $449. USD each. 

Discover Alpha Evohttps://www.focal.com/en/pro-audio/monitoring-speakers/alpha-evo

For more information on Focal Professionalhttps://www.focal.com/en/pro-audio

About Focal Naim America
Focal Naim America (formerly Audio Plus Services) is a leading North American importer and distributor of premium consumer and professional electronics brands including Focal Professional, SPL of Germany, IsoAcoustics, Zaor Studio Furniture, Vicoustic, and EarSonics. Based in Montreal with U.S. shipping facilities in Champlain, NY, the company has sales personnel located throughout the United States and Canada to professionally service their active roster of more than 350 specialty A/V and Pro Audio dealers. The company specializes in products and services for the professional audio and performing musician markets, as well as the home theater and custom integration (CI) market – both residential and commercial – for North America. 

For more information about Focal Naim America visit their website at https://www.focalnaimamerica.com or call (800) 663-9352.

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Many more Focal Alpha Evo photos available & high-resolution available, email: pauljdb@gmail.com

New Focal Alpha 50 Evo and Alpha 50 Evo: