Akai releases mpc 2.3 with synths and more


AKAI PROFESSIONAL EXPANDS POWER AND VERSATILITY OF MPC PLATFORM WITH RELEASE OF MPC 2.3 UPDATE
New software update enables MPC X, MPC Live and MPC Software 2 users to take advantage of three great new built-in synthesizers–TubeSynth, Bassline and Electric–and other upgrades.
Cumberland, RI USA (November 15, 2018) — Akai Professional today announced the release of MPC Software 2.3. This major software and firmware update introduces a number of user requested features and functionality enhancements, notably the addition of three powerful, versatile, and expressive built-in synthesizers by AIR Music Technology (TubeSynth, Bassline and Electric) to the MPC standalone experience. This is a landmark feature addition which elevates the MPC from a sampler to a true musical powerhouse. Also very significant is the addition of Autosampler and Arpeggiator. As a result, this update is highly recommended for all current MPC X, MPC Live and MPC Software 2 owners.

TubeSynth:
The TubeSynth emulates the sound of classic vintage analog poly-synths packaged with five integrated AIR effects. The instrument is created by AIR and is based on the same advanced analog modelling technology found in their highly acclaimed desktop plugin synth Vacuum Pro. The layout has been carefully designed for easy tweak-ability via the MPC Q-Links. The TubeSynth comes packaged with a comprehensive factory library of cutting-edge presets including sumptuous pads, hard hitting plucks, thunderous basses and screaming lead sounds.
• Flexible 3 Oscillator architecture features noise, saw, square, pulse and triangle waveforms.
• Two different unison engines offer extended possibilities for thickening the timbre of any patch.
• Users can customize the harmonic content of Oscillator 2 using the voice level EQ and Drive parameters.
• Lowpass Filter with continuously variable slope with pre and post distortion.
• Polyphonic Glide/Portamento for polyphonic pitch slides between chords.
• Envelopes included for Filter, Amp with a third specialist ramp envelope that can be assigned to different modulation destinations.
• Two LFO’s have Sine, Square, Saw Up, Saw Down, Pump, Sample and Hold and Drift waveforms.
• Explore a wide range of timbral possibilities with the Oscillator’s Ring Modulation parameter.
• AIR Chorus, Delay, Reverb, Compressor and Hype EQ.
• Almost 300 patches provide a wide selection of Synth, Lead, Pluck, Pad, Bass, Organ, FX presets.
• Oscillator 1 and 2 Env Shape parameter allows users to modulate the shape of each oscillator with the Filter Envelope

Bassline
The AIR Bassline emulates the sound of classic mono synths with a contemporary twist. Including four integrated AIR effects as well as two built-in distortion algorithms.
• Flexible oscillator with continuously variable waveshape including octave saw, saw, square and sine waveforms
• Sub and fifth oscillators for thicker layered timbres.
• Low-pass and high-pass filters.
• Over 150 presets.
Electric
The AIR Electric emulates the sound of classic electric pianos.
• Dedicated Pickup, Envelope, Bell and Noise parameter sections provide a huge amount of flexibility to configure the timbre of the electric piano sound.
• Five AIR effects Tremolo, Tube distortion, Chorus, Delay and Spring Reverb.
• Over 80 presets.

In addition to the AIR plugins. MPC 2.3 introduces many other enhancements, including:
• Autosampler – Capture and convert any plugin preset or external instrument preset into a key group sampler patch. This is great for sampling patches from synths and drum machines.
• Crossfade Looping – Realtime crossfade looping has now been added to sample playback.
• Arpeggiator – A real time arpeggiator and phrase player.
“MPC 2.3 advances the user experience in amazing new ways,” said Dan Gill, Akai Professional Product Manager. “Users will especially love the new plugins created by AIR. They definitely open up a whole new world of creative possibilities.”

This update is free for existing MPC Software 2 owners (2.0 – 2.2). MPC 2.3 is available as a new purchase for $199.99 for non-MPC product owners or as an upgrade from MPC Software 1 or MPC Essentials for $99.99.
For complete details on new features found in 2.3, visit: MPC 2.3 Release Notes.
For more information, visit akaipro.com.
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Vermona announces fourMative Contours eurorack module

VERMONA unleashes ultra-versatile generator for voltage curves and more as fourMative CONTOURS module
     Electronic sound tools creator VERMONA is proud to announce availability of fourMative CONTOURS — its first ‘envelope’ entry to the ever-expanding Eurorack small-format modular system world without resorting to type, far exceeding the functionality of a traditional envelope generator and typically following the company’s naming scheme for its Eurorack modules to reflect the fact that it delivers up to four single-phase envelopes that can be combined to achieve much more complex voltage-controlled curves — as of November 9…
      VERMONA makes no secret of its admiration for the classic ADSR (Attack, Decay, Sustain, Release) envelope generator; indeed, it is well versed in its strengths, having implemented various versions into its desktop devices over the years. Yet the company collectively decided that its first Eurorack-compatible envelope generator should not resort to type, instead rising to the challenge of realising a unique and flexible concept without compromises being made.
Mission accomplished? Actually, the prototype presented its erstwhile ecstatic creators with an unforeseen headache: how to name a module which was planned as an envelope generator but ended up exceeding expectations by so far? Fortunately for VERMONA, various proposals were supportively submitted to Twitter in response to a small survey. Settling upon fourMative CONTOURS, the company collectively felt that this does not pin down the module’s function to being that of just another envelope generator, but rather reflected its purpose while typically followingVERMONA’s Eurorack module naming scheme.
      So what warranted the fourMative CONTOURS name, and what, exactly, does this module do differently? First and foremost, fourMative CONTOURS delivers up to four single-phase envelopes that can be combined to achieve much more complex voltage- controlled curves. Therefore, the module itself features four individual channels (or units in ‘VERMONA-speak’), numbered accordingly on its front facia. Flexibly, each unit can be switched into A (attack), D(decay), or H (hold) MODE — with the attack and decay phases switchable between operating with a LIN (linear) orEXP (exponential) response SHAPE — and can be used individually or in any combination. Those tasty features alone are enough to set fourMative CONTOURS apart from the Eurorack envelope generator pack, putting it in prime position for handling many modulation tasks.
       The envelopes themselves are seriously snappy; each unit can run within a TIME range of 0.5 milliseconds through to 30 seconds, switchable between perfectly balanced fast andSLOW speed settings to ensure smooth adjustments, with the former geared towards creating crisp and percussive sounds. Saying that, that’s only half the story here, however, since those fourMative CONTOURS units are each equipped with a CV IN (control voltage input) that not only allows the times to be modulated but also extends them in both directions — down to 25 μs and up to 10,000 seconds, so if a two-hour-long envelope is needed then fourMative CONTOURS can handle it!
        Individual units can be looped or combined with other units using simple internal patching connections to create more complex envelopes. Thanks to those extended frequency ranges, fourMative CONTOURS can creatively also function as an LFO (Low Frequency Oscillator) or even an audio oscillator.
        On the face of it, fourMative CONTOURS clearly goes far beyond the capabilities of standard envelope generators, and anyone looking for a versatile modulation source should surely consider giving it a try. The creators themselves are quietly confident that there are many more scenarios where fourMative CONTOURS can be pressed into play, filling in some equally exotic Eurorack small- format modular system blanks, so-to-speak — not just the 24HP/3U rack space the module itself obviously occupies!
   Shipping now, fourMative CONTOURS is available to purchase through VERMONA’s growing global network of dealers (http://www.vermona.com/en/dealer/) with an RRP of €399.00 EUR (Europe) and $489.00 USD (USA).
   For more in-depth information, please visit the dedicated fourMative CONTOURS webpage here: https://www.vermona.com/en/products/modules/product/fourmative-contours/

XILS-lab updates PolyM to 1.1.0

XILS-lab pushes polysynth hommage beyond the pleasure principal with welcomed PolyM 1.1.0 update additions
GRENOBLE, FRANCE: audio software company XILS-lab is proud to announce availability of PolyM 1.1.0 — updating its critically-acclaimed, authentic-sounding software recreation of a pioneering polyphonic analogue synthesizer manufactured between 1975 and 1980 (based on divide-down oscillator technology similar to electronic organs and string synthesizers of the time), and arguably made most famous by British ‘new waver’ Gary Numan, notably seen as well as heard when ‘driving’ over an endless ‘synthscape’ in the trailblazing promo video for his 1979 chart-topping ‘Cars’ single; someone since observed that career-defining song’s parent album, The Pleasure Principal, “…is almost an album-length advert for the Polymoog…” — with welcomed additions including a new preset manager and an ability to run as an effects plug-in, plus compatibility with Native Instruments’ Native Kontrol Standard (NKS®), as of October 2…
PolyM first put in an appearance last year, when XILS-lab clearly considered those oft-overlooked Polymoog presets to be well worth revisiting, recreating an ‘unlimited’ polyphony polysynth that was recognisably revolutionary upon its initial release and making it fit for today’s creative computer-based music-makers with a state-of-the-art software makeover. Making that happen took two years — such was the complexity of its inspirational hardware predecessor. PolyM palpably didn’t disappoint, deftly reproducing yesteryear’s divide-down technology with two TOD (Top Octave Divider) oscillators — one for the sawtooth wave and another for the square, slightly detuned for a phenomenal phasing effect (when running independently in FREE mode), yet taking the concept further forward by adding polyphonic pulse width modulation. Meanwhile, in LOCK mode, those two TOD oscillators are almost locked in phase, producing PM (Phase Modulation) instead of FM (Frequency Modulation) when the square wave oscillator is modulated in pitch. The two TODs can also be modulated — tempo-sync-able — in pitch by an LFO (Low Frequency Oscillator), while the square wave oscillator has it own pulse width modulation by a tempo-sync-able LFO. Alongside a distinctive envelope generator, this represents the musical heart and soul of PolyM, pushing that revolutionary polysynth sound kicking and screaming into the future!
Further features of note include: 71 emulated chips, offering mixer, VCA (Voltage-Controlled Amplifier), envelope, 12dB filter, and pulse width modulation for each of the available notes; stunning-sounding 24dB ladder filter (using XILS-lab’s critically-acclaimed zero-delay algorithm); nine dedicated acoustic filters — STRING, PIANO, ORGAN, HARPS, FUNK, CLAV, VIBES, BRASS, and VOX — carefully recreated from the original (model 203a); RESONATORS filter bank with three parametric (6dB and 12dB) filters matching the original; three vintage — DEL. (delay), PHAS. (phaser), and REV. (reverb) — effects (with adjustable settings from within an Advanced Settings Panel alongside nine modulation slots for furthering sound design possibilities well beyond the scope of the original hardware); and more.
Today, thanks to the PolyM 1.1.0 update, there’s even more to (literally) make a song and dance about. As such, the NPM (New Preset Manager), a newly-integrated, single-window affair allowing users to easily and speedily perform different tasks with welcomed visual feedback — for example, locate and load the best fitting preset in seconds courtesy of a multi-criteria search engine, save/save as presets with (user-generated) tags, batch-tag multiple selections of presets, export/import multiple selections of presets, and select view (such as showing only favourite presets) — represents a major step in PolyM’s evolution; by that same token, those acoustic filters and RESONATORS, as well as the three vintage-sounding effects, are also available to work with other sound sources when running PolyM purely as an effects plug- in proffering plentiful possibilities for modulation; meanwhile, support for Native Instruments’ NKS® extended plug-in format for all virtual instrument developers delivers intuitive and seamless interaction with the German giant’s cutting-edge KOMPLETE KONTROL S-Series keyboards and MASCHINE hardware.
Helpfully, there are now over 300 professionally-programmed presets available as creative kickstarters in PolyM; parameters are all MIDI- controllable, combining to musically position this soft synth par excellence as an innovative instrument of its time while retaining a certain pioneering polyphonic analogue synthesizer’s coveted performance properties of the past. Put it this way: while what the deceased Austrian neurologist (and founder of psychoanalysis) Sigmund Freud would have made of this polysynth hommage is obviously open to speculation, surely the still active Gary Numan should approve… as will anyone’s bank balance by paying (comparatively) so little for so much playing pleasure. Thanks to its welcomed 1.1.0 additions, PolyM pushes beyond the pleasure principal in both senses, so anyone wishing to sonically travel back to the future should seriously consider adding it to their soft synth arsenal — all the more so at an attractive (albeit time-limited) introductory promo price representing a welcomed 40% saving. Best be quick, though — time waits for no man… or woman (or child)!
PolyM 1.1.0 is available to purchase as a USB eLicenser or iLok (1 and 2 dongle hardware or software) protected plug-in at an introductory promo price of €89.00 EUR until October 31, 2018 — rising thereafter to an MSRP of €149.00 EUR — from XILS-lab here: http://www.xils-lab.com/products/polym-p-160.html
PolyM 1.1.0 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit soft synth and virtual effects plug-in for Mac (OS X 10.7 and later) and Windows (XP, 7, 8, 10) from here: https://www.xils-lab.com/products/polym-p-160/download.html
About XILS-lab (www.xils-lab.com)
Based in Grenoble, France, XILS-lab is an audio software company, created and managed by Xavier Oudin. Having created some of the best known virtual instruments and effects plug-ins on the market for various companies over the last 20 years, today he focuses on bringing his passion for audio, instruments, and music to bear on his own company.Working with highly-skilled professional musicians and sound designers, the company collectively believes that a virtual instrument or effect is not simply a series of mind-boggling mathematical algorithms designed and scrutinised over by bookish PhD engineers but rather a useful and useable musical tool made for musicians. Moreover, XILS-lab loves to create virtual instruments and effects that inspire its users to create more imaginative music than they ever dreamed possible!

Akai introduces MPK mini play

AKAI PROFESSIONAL® ADDS BUILT-IN SOUNDS TO THE WORLD’S MOST POPULAR MIDI CONTROLLER WITH THE MPK MINI PLAY


New ultra-portable instrument is based on incredibly popular MPK Mini, but adds 128 built-in sounds and its own speaker, making it the perfect instrument to play anywhere
Cumberland, RI USA (October 11, 2018) — Akai Professional, a leading manufacturer of music equipment for performers and producers, today announced the immediate availability of their all-new MPK Min portable MIDI controller. The ultra-portable MPK Mini Play is based on the world’s most popular midi controller—Akai Professional’s MPK Mini—but now it comes packed with 128 sounds and its own built-in speaker. With 8 backlit MPC drum pads and a 4-way joystick for simple control, players have all they need to play their music anytime, anywhere. Four knobs (two banks capable of controlling eight different parameters) can be used to tweak sounds and edit multiple parameters in real-time, giving musicians even more performance possibilities. Powered by 3 “AA” batteries, the MPK Mini Play is built for hours of wireless fun.
Amazing Connections
Not just a mini keyboard, the MPK Mini Play can also connect to a computer via USB port for the same plug-and-play MIDI functionality as the classic MPK Mini controllers. If not disturbing others is a priority, players can use the mini-audio output jack to connect headphones to the MPK Mini Play. When you want a bigger sound, simply connect to external speakers using the same output jack. All-in-one, easy- to-use fun with “pro” features—that’s the MPK Mini Play!
Features/Specs
– Built-in sound module with over 128 different sounds
– 25 mini keys with arpeggiator
– 4-way joystick
– 8 red backlit drum pads (2 banks, 16 total)
– 4 knobs edit sounds or send midi (2 banks, 8 total)
– Battery powered using (3) AA batteries
“We are extremely excited to introduce the MPK Mini Play,” said Dan Gill, Product Manager for Akai Professional. “The MPK Mini was a huge hit with musicians and now having all those sounds on-board with a built-in speaker, along with its go-anywhere portability, Play opens up new musical possibilities that people are going to love.”
U.S. retail for MPK Mini Play is $129 Available for purchase October 11, 2018
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Qubit electronix introduces Scanned wavetable vco

Scanned

$349.00

Scanned is an organic wavetable oscillator. It uses an unexplored technique known as Scanned Synthesis to animate wavetables that are created in real-time. This synthesis method was conceived by the father of computer music, Max Mathews, as the next paradigm in digital oscillators, and until now, has never been implemented on hardware.

The wavetables are dynamically generated from a set of “objects” tied together on a virtual string. These objects have physical properties including Mass, Stiffness, and Damping which affect the way that the string moves through space and time. Unlike physical modeling, however, this algorithm is a means of creating new electronic sounds, not replicating acoustic instruments.

To animate the waveform, the objects are morphed into the currently selected hammer shape and then released. This excitation of the sound generates evolving timbral landscapes that contain harmonic movement without external modulation. The hammer section also determines whether Scanned is a free-running oscillator, or a triggered sound source allowing it to function as a complete voice without additional filters or VCAs.

  • First hardware implementation of Scanned Synthesis
  • Organic wavetable generation and animations
  • Can be a free-running oscillator or triggered voice
  • Inject input allows external audio or CV sources to excite the string
  • Evolving timbral landscapes without external modulation
  • Four hammer shapes with interpolation

4ms announce 4MS PODS compact eurorack cases

4ms Pods are a new line of eurorack cases with an emphasis on slim design primarily for the desktop. basically it lets you treat your modules like stand alone desktop FX units which can be really great.  the sizes come in 20,26and 32 hp sizes and can come either powered or unpowered. the case power can also be daisy chained so your desk doesn’t end up being a mess of wall wart wires.  All enclosures have 1hp spaced mounting holes The powered version will come with a newly designed, daisy-chainable supply from 4ms. Standard 2.1mm connectors will enable the user to chain Pod enclosures much like the Row Power system. Plastic plugs will be used to cover these mounting holes if the user would like to supply power themselves.

Pricing (no wall wart included):

20HP: $55/$99
26HP: $60/$109
32HP: $65/$119

Akai Fire new dedicated FL studio controller

— Akai Professional, a leading manufacturer of music equipment for performers and producers, today announced their newest product, the Akai Fire. Created in close collaboration with software manufacturer Image-Line, Fire finally gives FL Studio producers a dedicated hardware controller – designed to speed up the creative workflow and enhance the overall user experience. Released shortly after the successful launch of FL Studio 20, Fire celebrates the highly-anticipated arrival of FL Studio to the Mac OS platform, creating a completely new, hands-on way to interact with the popular DAW for PC and Mac users alike.
Featuring plug-and-play integration, at the heart of Fire is a 4×16 velocity-sensitive RGB pad matrix. Quickly input patterns on the Step Sequencer or switch over to Performance Mode for live playing and recording of notes and launching patterns. Bringing a tactile, mouse-free mixing solution to the FL Studio environment, Fire includes four banks of four touch-capacitive knobs, enabling the user to instantly see and adjust parameter values. This facilitates a more intuitive workflow, giving the ultimate control over channel, mixer and user-assignable parameters.
Features
· Plug-and-play integration with FL Studio
· Quickly input patterns along the timeline in the step sequencer · 4 x 16 Matrix of Velocity-Sensitive RGB Pads
· Expandable up to four units, creating the potential for an 8 x 32 Matrix · Record notes in Performance mode · Graphical OLED display
· 4 banks of assignable Touch-Capacitive Knobs
· Instantly navigate the Channel Rack, Browser, Tool Bar and Playlist windows · Use dedicated controls to quickly browse audio and project files · Dedicated Transport controls · USB Bus Powered
FL Studio Fruity Fire Edition Included
Enter the groundbreaking, high-powered workflow heard all over the charts with FL Studio Fruity Fire Edition, engineered for and included with Akai Fire. FL Studio is a complete software music production environment, the culmination of more than 20 years of innovative development. The bundled Fruity Fire Edition features everything you need in one package to compose, arrange, edit, mix and master professional quality music. With access to FL Studio’s piano roll editor and step sequencer, 500 tracks, VST & DXi instrument support, full automation functionality, plus 18+ virtual instruments and over a dozen built-in effects and processors, FL Studio Fruity Fire Edition provides the ultimate platform to create fully-produced, great sounding music.

Antelope Audio unveil Edge Family of modeling microphones

Antelope Audio unveil all-new Edge Family of modeling microphones
Edge Solo, Edge Duo, and Edge Quadro large-diaphragm condensers deliver pristine cardioid, multi-pattern and 360° recording with stunning vintage mic emulations
September 17, 2018 — 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.
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.
Watch Antelope Audio’s all-new Edge Family of modeling microphones introductory video here: https://youtu.be/jGX26IZE2z8