Mode Machines new Seq12 analog and midi sequencer released

MODE MACHINES make matrix-style sequencing truly tactile with SEQ12 ANALOG AND MIDI SEQUENCER
 innovative electronic musical devices brand MODE MACHINES is proud to announce availability of its SEQ12 ANALOG AND MIDI SEQUENCER — a multi-channel MIDI (Musical Instrument Digital Interface) step sequencer in a truly tactile, tabletop (rack-mountable) console-type housing that lends itself to creating and arranging pattern-based music as a live performance-capable standalone sequencing tool or working alongside a DAW (Digital Audio Workstation) to enhance production possibilities — as of July 16…
As implied by the 12 TRACK MATRIX SEQUENCER ‘subtitle’ boldly blazoned across its expansive top panel — pressed into play by the 12-line (and 16- column) arrangement of (red) backlit LED (Light Emitting Diode) buttons that musically mark out the namesake matrix laying claim to the majority of that top panel, the SEQ12 ANALOG AND MIDI SEQUENCER is a 12-track affair, with each track arranged numerically below the next in the matrix. More meaningfully, each track can freely address one of three MIDI outputs (OUT 1, OUT 2, and OUT 3) to ensure optimal timing (by avoiding serial chaining of connected MIDI devices) and additionally be assigned to one of three track types: MONO (monophonic) — plays only one note per step (sending note, velocity, and note length) and offers three controller tracks (C1, C2, C3); POLY (Polyphonic) — plays back multiple notes per step (sending note, velocity, note length, and chord) and offers two controller tracks (C1, C2); and DRUM — optimised to address drum machines (or similar) with the matrix forming a pattern where each line can be set to transmit a definable note to 12 so-called subtracks (with adjustable velocity and accented notes) from within a single track with two controller tracks (C1, C2)… 12 different drum sounds can be arranged from a single track, in other words.
While the term step sequencing can conjure up mesmerising musical images of repetitive note patterns pioneered and popularised by the likes of Germany’s homegrown Kraftwerk and Tangerine Dream in their heyday — the likes of which the SEQ12 ANALOG AND MIDI SEQUENCER of course can capably emulate, even down to the latter’s ‘trademark’ ratchet effect (of outputting multiple triggers per step) but bettered by enabling easy creation of rolls, flams, and comparable complex rhythmical functions courtesy of six selectable trigger patterns and a note value to adjust the length of the trigger pattern, there is so much more to this truly tactile step sequencer than might meet the (untrained) eye… eye-catching as all of those 192 flashy (red) backlit LED buttons already are!
Although the SEQ12 ANALOG AND MIDI SEQUENCER is at heart a pattern-based step sequencer that generates MIDI data, multiple modes make it stand out from the sound of the (step sequencing) crowd — to partially paraphrase the early-Eighties British breakthrough hit from synth-pop pioneers The Human League, no strangers to the lure of spellbinding step sequencing themselves.
The self-explanatory SEQ mode is used to program a sequence — the smallest ‘unit’ within the SEQ12 ANALOG AND MIDI SEQUENCER (containing up to 16 steps) — using the matrix or an external MIDI input device, such as a master keyboard controller connected via the single MIDI IN (input). 16 sequences per track can be stored with parameter values such as velocity, controllers, or step length displayed as backlit LED (button) bars in the matrix.
Meanwhile, JAM mode makes live performance pleasurable and also inspirational with the SEQ12 ANALOG AND MIDI SEQUENCER. This time the matrix displays 12 tracks with 16 sequences each, all of which are freely switchable on the fly for immediate playback while the function buttons to the left of the matrix mute and activate the corresponding 12 tracks. And assuming that the tracks are tasked with handling different musical parts — playing a melody with track 1, a bass line with track 2, chords with track 3, and drums with track 4, for example — then it is perfectly possible to create a song on the fly. Flexibility further abounds since switching from JAM mode to SEQ mode only involves a couple of (almost instant) clicks; once there, users can, likewise, edit the selected sequences on the fly.
Finally, SONG mode is where the SEQ12 ANALOG AND MIDI SEQUENCER sings for its supper, so-to-speak, allowing for the creation and playback of longer and more complex arrangements or even full songs. Each track is allocated an individual series of up to 64 sequences (or sequence chains in ‘SEQ12- speak’). Still better, there are 12 sequence chains — one for each track; these combine to create a part, with the SEQ12 ANALOG AND MIDI SEQUENCER storing up to eight parts. Parts can also be changed on the fly while the sequencer is running, so, given that those parts could effectively equal song parts, users could choose from, say, an intro, verse, bridge, chorus, or outro, each of which could be called up to be played anytime.
All data that can be changed by the user — namely, sequences, parts, and sequence chains, as well as global settings (with further visual guidance coming courtesy of an informative backlit LCD working in conjunction with various clearly labelled control functions) — is stored as a setup. The SEQ12 ANALOG AND MIDI SEQUENCER stores up to 32 setups. So it is ready and willing to be put through its interactive musical paces onstage or in the studio, thanks to its robust rack-mountable (19-inch/6 HE) design that also includes rubber feet for non-slip tabletop usage.
Ultimately, then, the truly tactile SEQ12 ANALOG AND MIDI SEQUENCER surely ranks as an ultimate pattern-based step sequencer, limited only by its user’s imagination rather than ‘traditional’ step sequencing’s limited note pattern repetition. Reach out and touch… as Depeche Mode sang on their way to sequencer-driven superstardom!
The SEQ12 ANALOG AND MIDI SEQUENCER is available to purchase directly from MODE MACHINES’ online SHOP (https://www.modemachines.com/shop) at an introductory promo price of €999.00 EUR (inc. VAT) or through MODE MACHINES’ growing global network of authorised dealers (https://www.modemachines.com/where-to-buy).
For more in-depth information, please visit the dedicated SEQ12 ANALOG AND MIDI SEQUENCER webpage here: https://www.modemachines.com/seq12
Watch MODE MACHINE’s SEQ12 ANALOG AND MIDI SEQUENCER intro video here: https://youtu.be/lKxNBnHhOkI

Dark Energy III from Doepfer announced

Doepfer harnesses dark energy for third time with effectively enhanced monophonic analogue standalone synth namesake
GRAEFELFING, GERMANY: having wowed North American audiences with a preproduction prototype at The 2018 NAMM Show in Anaheim, CA, then turned heads and opened European ears with a must-see showstopper closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designers Doepfer Musikelektronik is proud to announce availability of the Dark Energy III Analog Synthesizer — a worthy successor to its critically-acclaimed desktop Dark Energy II monophonic analogue standalone synthesizer with wide- reaching CV (Control Voltage)/Gate, MIDI (Musical Instrument Digital Interface), and USB (Universal Serial Bus) connectivity that it effectively enhances — as of July 4…
Like its Dark Energy II predecessor, released to widespread critical acclaim back in 2012, Dark Energy III is a desktop monophonic analogue standalone synthesizer with wide-reaching CV/Gate, MIDI, and USB connectivity. Continuing that intriguingly-named lineage, likewise, Dark Energy III’s sound generation and all modulation sources are 100% analogue, with only its inbuilt MIDI/USB components entering the digital arena (as is obviously necessary, naturally). Needless to say, everything is built into a rugged black metal case with wooden side plates, while high-quality potentiometers with metal shafts are used; ultimately, each potentiometer is mounted firmly to the chassis, so no wobbly shafts and knobs — unlike some cheaply-constructed competing (non-Doepfer) designs. Dark Energy III is, indeed, essentially an enhanced version of Doepfer’s desktop standalone synthesizer so central to the company’s product line for so long, but boasts several notable differences.
Notably — not least audibly, although also apparent from the front panel’s waveform Shape switch labelling, a triangle Shape waveform is now central to the VCO (Voltage-Controlled Oscillator) core, which now no longer requires a warmup period for optimal operation over a 10-octave frequency range (with 1V/Oct tracking over at least eight octaves).
On top of that, there are now separate Reset LFO1 and Reset LFO 2 Inputs for the two resettable LFOs (Low Frequency Oscillators). These sockets synchronise both LFOs to external gate signals, so when a gate signal of +5V (or higher) is applied at a socket then its positive ramp sets the corresponding LFO wave shape to zero and the LFO restarts with a rising ramp.
All analogue synthesizers use a VCA (Voltage-Controlled Amplifier) to dynamically control loudness (or volume); Doepfer’s Dark Energy III design differs from its predecessor — and also many other analogue synthesizers — by virtue of its VCA having a linear control scale, so lends itself to scaling control voltages.
Several signal routings and functions are additionally available to any adventurous ‘Doepfer DIY’er’ willing and able to modify Dark Energy III’s front panel sockets by removing jumpers and rewiring the pin-headers for the VCO PW, Reset LFO1, Reset LFO2, and VCA Inputs. For example, the VCO PW input can be converted into a linear FM input, or LFO/ADSR signals can be used as outputs instead of one of the resettable LFO inputs. Indeed, (almost) anything is possible, including various VCO outputs (triangle, sawtooth, rectangle); VCO hard sync input; VCO soft sync input; various VCF outputs (lowpass, highpass, bandpass); various LFO outputs (triangle, rectangle); ADSR output; and two inverters with input/output (to invert any signal, such as ADSR or LFO).
Effective enhancements notwithstanding, the favoured filter found in Dark Energy II remains unchanged in Dark Energy III. Indeed, its sound- defining VCF (Voltage-Controlled Filter) is centred around a 12dB multimode filter with lowpass, notch, highpass, and bandpass settings, together with a filter Mode control for continuous transition from lowpass via notch and highpass around to bandpass; its XFM (Exponential Frequency Modulation) control also has a polarization function, whereby the modulation source (LFO2 or ADSR) selected by the Source switch can affect the filter frequency with a positive or negative behaviour (by rotating rightwards or leftwards, respectively).
Meanwhile, mounting of two or more Dark Energy — original, II, and III — units is possible, with or without wooden side plates between them. Though there is still not sufficient space to accommodate a dedicated MIDI output socket on the Dark Energy III rear panel, it is still possible for those adventurous ‘Doepfer DIY’ers’ to link two or more Dark Energy — original, II, and III — units via MIDI out/MIDI in using the two pin-headers available at the supply/interface board mounted at the rear panel. (Fortunately for them, Doepfer has helpfully posted a downloadable document with additional technical information here: http://www.doepfer.de/pdf/Dark_Energy_III_technical_information.pdf.)
Put it this way: with Dark Energy III, Doepfer delivers another effective enhancement of a highly-capable monophonic analogue standalone synthesizer, continuing to make its musical mark with a compact desktop design dating back to 2010 (when wowing audiences around the world with its original Dark Energy entry).
Ending on a high note, who better to tender tasty food for thought, then, than Doepfer Musikelektronik CEO Dieter Doepfer, the esteemed electronic musical devices designer who lends his notable name to the renowned company and has been known to look beyond our world for inspiration: “Dark Energy III is not a tool for space research, neither is it suitable for studies in astrophysics. Yet, we find these topics as fascinating as music technology — reason enough to celebrate ‘Hubble & Co.’s amazing discoveries a bit and call our brand-new synthesizer Dark Energy III.”
In Germany, Dark Energy III can be ordered online from Doepfer Musikelektronic GmbH (http://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €479.00 EUR. (An optional user-installable Glide control kit — containing a prewired potentiometer with two nuts and a Dark Energy-style rotary knob — is available for €10.00 EUR.)
Outside Germany, Dark Energy III can only be ordered from Doepfer dealers in territories listed here: https://docs.doepfer.eu/en/ (That said, residents in countries without representation can order directly from Doepfer Musikelektronic GmbH.)
For more in-depth info, please visit the dedicated Dark Energy III webpage here: http://www.doepfer.de/Dark_Energy_III_e.htm

IK Multimedia announces Total Studio 2 MAX, the ultimate collection of software instruments & FX

IK Multimedia. Musicians First.
The world’s most comprehensive suite offering 94 award-winning products, 16,800 sounds,
39 high-end mixing and mastering processors and over 350 gear models for guitar and bass
March 15, 2018 – IK Multimedia is pleased to announce the immediate availability of the brand-new and unique Total Studio 2 MAX bundle, the world’s most complete studio collection of software instruments and FX. It brings together an amazing 94 products in one single suite for Mac/PC and equips composers as well as engineers, creative sound designers, producers, performers, multimedia artists, broadcast professionals, and others with everything they need to be inspired and to take their music making and audio processing to a new level. From full orchestral arrangements for TV, cinema and video games to complete, polished mixes and masters, ready for distribution, as well as full-blown tracks in any style and genre, everything is within easy reach. Total Studio 2 MAX and its entry-level version, Total Studio 2 DELUXE, are now available for purchase today.
Total Studio 2 MAX & Deluxe
World’s widest and most balanced collection
Total Studio 2 MAX comprises 94 award-winning products, 16,800 sounds, 39 high-end mixing and mastering processors and over 350 of the most sought-after gear models for guitar and bass, which is more than any other collection on the market, and offers a virtual one-stop-workshop that covers any music production needs from A to Z. The entire range of products from SampleTank MAX, Miroslav Philharmonik 2, Syntronik, MODO BASS, T-RackS 5 MAX, Lurssen Mastering Console, AmpliTube MAX, Fender Collection 2, Ampeg SVX 2 and Fulltone Collection have been compiled together for the widest and most balanced collection of virtual instruments, mix and master processors, amps and effects available. Furthermore, it represents unbeatable value, saving up to 90 percent off the individual purchase price of the included products.Cinematic & orchestral, acoustic & electronic
Total Studio 2 MAX contains 43 virtual instruments, almost 17,000 sounds and 179 GB of samples amongst which there are 7,000 acoustic instrument sounds to suit any musical style or genre as well as a stunning 3,000 orchestral sounds with articulation switching for incredible expressiveness. These put the sounds from the uniquely musical Miroslav Philharmonik 2 at composers’ fingertips and give the tools for the perfect score. Miroslav Philharmonik’s soul was first masterfully captured by the legendary Miroslav Vitous at the prestigious CNSO Studios in Prague, where the soundtracks for The Hateful Eight, The Young Pope, The Illusionist and many other blockbusters have been recorded.

 

To guarantee the ultimate ease of use, all sample-based sounds can be accessed, browsed and combined within the single SampleTank interface which allows for the creation of quick and easy multitimbral productions from Rock, Pop, Hip-Hop, EDM, Trap, Jazz, House and more, there is no limit to the style. The industry-standard SampleTank MAX, IK’s complete sound and groove workstation, itself comprises 24 libraries, 4,600 instruments, 7,400 drums and loops and 3,500 MIDI patterns. These sounds are far from ordinary: they have been carefully assembled and recorded by IK’s experienced recording engineers with high-quality instruments played by professional musicians in some of the world’s finest studios. Most importantly, SampleTank 3’s powerful editing and effects features make it possible to control every aspect of these sounds, which allows for an unparalleled creative sonic experience and satisfies the needs of even the most demanding music producers.

Physically modeled
Furthermore, Total Studio 2 MAX adds the break-through physically modeled iconic instruments from MODO BASS into the bundle, incorporating the widest assortment of electric bass sounds for unmatched expressiveness. MODO BASS utilizes a completely new technology where sound is generated by recreating the physical properties of a real bass, no samples are used, and it recreates virtually every electric bass sound imaginable delivering an unprecedented realistic performance for any bass track.

Legendary synthesizers
In addition, Total Studio 2 MAX comprises over 4,000 electronic instrument sounds including hybrid sample and modeling synths. From the undeniably authentic sound of legendary synthesizers and string machines to the driving power of world-class effects, IK’s Syntronik offers the definitive and best-sounding collection of vintage synthesizers in a virtual instrument. It includes 17 amazing instruments with over 2,000 preset sounds covering a wide selection from 38 of the most iconic to ultra-rare and painstakingly multi-sampled vintage synthesizers. Syntronik’s synthesis engine goes well beyond traditional sampling thanks to a brand new analog modeled filter section created with the utmost expertise from IK. All of this coupled with exclusive DRIFT™ technology to accurately reproduce the behavior of oscillators from real hardware synths makes it the ultimate source of inspiration with the widest palette of synthesizer sounds ranging from exact reproductions of the originals to sounds never heard before that will stand out from the crowd in productions covering any genre and style.

First-class mix and mastering effects
39 individual, high-end mixing and mastering processors from the industry-leading T-RackS 5 MAX workstation and the acclaimed Lurssen Mastering Console are available as single plug-ins or within a single mix and mastering chain, supporting up to 192kHz sample rate. T-Racks 5 MAX is the most powerful mix and master modular system on the market and includes all the necessary tools from EQs & channel strips, dynamics, reverb & effects, harmonics processors to special processors/metering. Lurssen Mastering Console, the official emulation of the multi-GRAMMY® award-winning Lurssen Mastering, Inc. mastering console even further enhances the mastering power packed into Total Studio 2 MAX. Also included is a unique album assembly feature with sequencing and metadata embedding. It’s fast and intuitive and enables the assembly of full-length productions directly within the T-RackS interface.

Sought-after guitar and bass amps & FX
Total Studio 2 MAX offers the largest and most authentic collection of guitar and bass gear available with over 350 coveted circuit-modeled amps, cabinets, mics, stomp effects and rack effects. They include official models of iconic world-class brands such as Fender®, MESA/Boogie®, Ampeg®, Orange®, Fulltone®, Soldano®, ENGL® and more, and span the range from the essential bread and butter models to the most sought-after rarities which most could otherwise just aspire to own.

State-of-the-art technologies coupled with musicality
Everything in Total Studio 2 MAX utilizes the most sophisticated industry standard and IK’s proprietary technologies to always ensure the highest sound quality and musicality, true to IK Multimedia’s mission to putting musicians’ needs first. All products can be easily used both as standalone applications and plug-ins for AU, AAX and VST.

Total Studio 2 DELUXE
The entry-level version, Total Studio 2 DELUXE, with over 9,700 sounds, 12 powerful virtual instruments, 22 mixing and mastering processors and over 140 guitar amps and FX, is aimed at musicians, composers and producers who need a comprehensive collection of creative and specialized tools for their studio, striking the right balance between features, flexibility, variety and power, all at an incredibly affordable price. Total Studio 2 DELUXE comprises 35 products including AmpliTube 4 Deluxe, T-RackS 5 Deluxe, SampleTank 3, Miroslav Philharmonik 2 and more.

Pricing and availability

Total Studio 2 MAX is available in the following versions:

  • Full version for new users priced at $/€999.99*
  • Upgrade version priced at $/€249.99 for current Total Studio MAX owners
  • Maxgrade priced at $/€499.99 for owners of AmpliTube MAX, SampleTank MAX, T-RackS MAX and Miroslav Philharmonik 2
  • Crossgrade priced at $/€699.99 for all IK users with a registered purchase of $/€99.99 and up

Total Studio 2 DELUXE is available in the following versions:

  • Full version for new users priced at $/€499.99
  • Crossgrade priced at $/€399.99 for all IK users with a registered purchase of $/€99.99 and up

Special introductory price
All of the Total Studio 2 Upgrade, Maxgrade and Crossgrade titles are offered at a special introductory price of 20% off from March 15 until April 30, 2018.

  • Total Studio 2 MAX Upgrade at the 20% off introductory price: $/€199.99
  • Total Studio 2 MAX Maxgrade at the 20% off introductory price: $/€399.99
  • Total Studio 2 MAX Crossgrade at the 20% off introductory price: $/€559.99
  • Total Studio 2 DELUXE Crossgrade at the 20% off introductory price: $/€319.99

Total Studio 2 MAX and Total Studio 2 DELUXE are immediately available for download from the IK Multimedia online store and from select retailers worldwide. The boxed versions with a USB flash drive are open for pre-orders at the same corresponding prices** and will commence shipping in April.

* All prices excluding taxes
** Shipping charges apply

For more information about Total Studio 2 MAX, please visit: www.ikmultimedia.com/ts2max
For a video of Total Studio 2 MAX, please visit: www.ikmultimedia.com/ts2max/video

For more information about Total Studio 2 DELUXE, please visit: www.ikmultimedia.com/ts2deluxe

Eventide H9 now has Android support!

Eventide Announces Availability of Highly Anticipated H9 Control Android App for H9 Harmonizer® Effects Processor

Eventide is proud to announce availability of the new H9 Control App for Android devices — providing users with the ability to manage parameters, presets, and settings for its popular H9 Harmonizer Effects Processor stompbox family.

Eventide’s H9 Harmonizer is a powerful effects pedal perfect for live usage (on stage and FOH) or, of course, in the studio. Suitably paired with an appropriate Android tablet or phone, the new H9 Control App offers the following functionality:

  • Instant access to over 500 presets, pushing the boundaries of delays, reverbs, pitch-shifting, modulation, and distortion.
  • Manage multiple parameters and instantly create new and unprecedented sounds using The Ribbon control.
  • Easily access Pedal Settings such as Tuner, MIDI Settings, Routing, and Aux Switch Mappings.
  • Manage and create unique sounds with the editor librarian.
  • Create hundreds of effects on the App and easily transfer them to the H9 Harmonizer®.
  • Create Preset Lists using the drag-and-drop feature.
  • Audition and purchase new effect algorithms via the built-in Store.

Compatible with Android 6+ (Marshmallow and newer), H9 Control is available for free via the Eventide website or the Google Play store: https://goo.gl/J7obNh

For more information please visit: http://www.eventideaudio.com/h9control

Watch the H9 Control App for Android Devices Video Promo
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Guitar Pedal wizards Strymon release Magneto onto the Eurorack world

Strymon shapes first foray into Eurorack effects with feature-filled Magneto module
WESTLAKE VILLAGE, CA, USA: having turned heads and opened ears at The 2018 NAMM Show in Anaheim, CA, powerful processing effects developer Strymon is proud to announce availability of Magneto — illustrating its first foray into the Eurorack small-format modular market with an aptly-subtitled Four Head dTape Echo & Looper module packed with powerful features while maintaining intuitive playability, perfect for creating expansive soundscapes and evolving, otherworldly tones — as of March 5…
As implied by the Four Head dTape Echo & Looper legend blazoned across an attractive yet functional front panel that is instantly recognisable as springing forth from the Strymon stable, Magneto is a stereo multi-head tape delay that also functions as a looper, phrase sampler, vintage spring reverb unit, phase-aligned clock multiplier, chaotic oscillator, zero-latency sub-oscillator, and more, with extensive CV I/O.
Strymon states that it wants to build products with no compromises, push the limits of technology in music, and redefine what is possible with music gear. Magneto moves that praiseworthy philosophy into the ever-expanding Eurorack small-format modular market. Making that move made sense to the self-styled small company that wants to create gear that is fun to design and fun to play. Pete Celi — DSP and Sound Designer at the company he co-founded with Dave Fruehling and Gregg Stock — sees it this way: “We were seeing some musicians using the Strymon pedals in their Eurorack setups, and El Capstan [dTape Echo] seemed to be a popular choice, where people would place it at the end of their signal chain and sweeten up their signal with some nice tape delay sounds, so it seemed like a good place to start. We knew that by introducing something in the Eurorack format that would give us the ability to really expand on the capabilities and feature set.”
Succeeding in doing that — and more, Magneto transforms even the smallest rack into a fully expressive, immersive instrument as an interstellar space machine fit for creating expansive soundscapes and evolving, otherworldly tones, and adding layers upon layers of harmonic and rhythmic complexity within an enveloping stereo field. It infuses Eurorack with vintage warmth and retro-futuristic soul. Try turning monophonic signals into complex orchestrations, creating new oscillator tones using self-oscillation, and adding rich stereo dimension to any sound while enjoying the inherent warmth and sweet, subtle distortion characteristics of magnetic tape.
To capture the full experience and complexity of a vintage tape echo machine, Strymon studied and faithfully recreated every last tape system attribute. From the sought-after natural saturation and soft clipping of magnetic tape when driven hard to hands-on, real-time controls for TAPE AGE, TAPE CRINKLE, and mechanical WOW & FLUTTER, Magneto delivers a rich multi-head delay experience that adds life and vibe to any user’s sound.
Saying that, every function, control, gain stage, and signal path component in Magneto works together to respond musically and smoothly, even during the wildest live modular improvisations. All this is combined with a luxurious SPRING reverb to take the hosting modular setup’s sound to a new level, and its user’s sonic explorations into far-out territories.
Technically speaking, Strymon has equipped Magneto with a completely analogue dry path — unlike in a typical digital effect, where the dry signal gets converted to digital, causing conversion noise and latency. That terrifying scenario sees signals often being attenuated before combining digital dry and wet, with makeup gain amplifying the conversion noise — not the case with Magneto, where improvements in dynamic range and noise reduction are striking.
Strymon has helpfully outfitted Magneto with the incredibly powerful Analog Devices SHARC ADSP-21369 processor, providing a 366 MHz core instruction rate, and an incredible 2.4 Gigaflops of peak performance. This high-powered technology platform provided the freedom to craft processor-intense tape echo algorithms without compromise.
Cutting to the specification chase, Magneto does not disappoint as a tape-voiced delay machine (with four playback heads and one record head) that includes: processor-intense dTape algorithm (delivers meticulously nuanced recreations of vintage tape echo systems); ECHO, LOOP (Sound on Sound looper), and phrase SAMPLE modes; varispeed algorithm with dynamic machine mechanics (8:1 speed range); input record level (for clean reproduction to warm, fat saturation); self-oscillation (for tone generation); independent SPRING reverb; dedicated control over tape mechanics, machine health, and tone; transport controls (buttons and CV inputs) for real-time performance options; individual playback head level controls; three stereo head panning options (including user-defined custom panning); phase-aligned clock out (CLK OUT) CVs synched with clock in (CLK IN) CV; 15 seconds delay/loop time at maximum speed and two minutes at minimum speed; 200μS minimum delay time at maximum speed; 50ms – 15s clock in CV range; 50ms – 15s TAP button range; 10ms – 15s TAP CV range; 114db typical signal to noise; 96kHz sampling rate; 22 kOhm audio input Impedance; 20 Vpp maximum audio input level; 1 kOhm audio output impedance; and 20 Vpp maximum audio output level.
Having packed so many powerful features into the 28HP-rack width Magneto module, seemingly Strymon are only just getting started — as implied by Pete Celi’s closing words: “We’ve got a good library of effects that we think can be good starting points to develop further and turn into things that are suitable and fun and add value and enhancement to people’s experience and experimentations in modular.”
Magneto can be purchased directly from the Strymon Store (https://store.strymon.net/magneto/) in the US for $599.00 or through Strymon’s growing global network of authorised dealers (https://www.strymon.net/dealers/).
For more in-depth information, including informative video demonstrations, please visit the dedicated Magneto webpage here: https://www.strymon.net/products/magneto/
Print-ready, hi-res images:

Antelope Audio announces availability of EDGE Strip discrete preamp and modelling mic bundle

SANTA MONICA, CA, USA: having turned heads and opened ears during a must-see showcase at The 2018 NAMM Show in Anaheim, CA earlier this year, high-end professional audio equipment manufacturer Antelope Audio is proud to announce availability of the EDGE Strip bundle — comprising the trailblazing EDGE modelling microphone and specifically-designed DISCRETE MP Discrete Dual Ultra-Linear Microphone Preamp, perfectly paired to tender the same audio quality as a locker-full of vintage mics and rack-full of outboard gear as an all-in-one solution for high-quality studio recordings with vintage analogue sound — as of February 28…

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

Furthermore, the EDGE Strip bundle comes complete with the free native-format Fusion AFX Pack plug-ins, including several microphone and preamp emulations alongside the BA 1073 EQ (inspired by the Seventies-vintage channel module with a specific analogue punch putting in an appearance on many notable recordings) and STAY-LEVIN compressor (personally designed by Igor Levin at Antelope Audio to capture the spirit of its historic hardware namesake that shaped the special sound of a slew of Sixties Stateside classics).

Clearly, then, the days of spending tens of thousands of dollars on a vintage mic collection are over, thanks to those must-have microphone emulations: BERLIN 47 FT allows authentic access to the sound of one of the most popular microphones in the history of audio recording; BERLIN 67 carries with it the true sound of an iconic tube condenser microphone with multiple — cardioid, omni, and figure eight — polar patterns, popularised as a result of its signature sound and adaptability; BERLIN 87 is the go-to microphone when it comes to recording brass sections, guitars, overheads, piano, percussion, strings, and vocals; and TOKYO 800T, a vintage tube mic with a super-low noise floor and extreme sensitivity that is a top choice for many masters of vocal recording. Reality bites still further with ANTELOPE V76, GIRAFFE G9, and BAE 1073 MP preamp emulations par excellence.

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

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

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

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

 

EDGE Strip — a breakthrough bundle of Antelope Audio’s all-new, all-analogue DISCRETE MP Discrete Dual Ultra-Linear Microphone Preamp and already-available, trailblazing EDGE modelling microphone — is now available to purchase through Antelope Audio’s growing global network of dealers with an MSRP of €1,295.00 EUR. (Note that the free native-format Fusion AFX Pack plug-ins are all iLok protected; users can create a free account for the iLok Licensing System and purchase the third-generation iLok Smart Key from here: https://www.ilok.com.)

 

For more in-depth information, please visit the dedicated EDGE Strip webpage here: https://en.antelopeaudio.com/products/edge-strip/

Watch Antelope Audio’s cutting-edge EDGE modelling microphone demonstration video here: https://youtu.be/ZE-aiemDI58 

Spitfire Audio offers apt alternative take on solo strings sample library with ALTERNATIVE SOLO STRINGS

LONDON, UK: Spitfire Audio is proud to announce availability of ALTERNATIVE SOLO STRINGS — an aptly-titled, alternative take on a sampled solo strings library for Native Instruments’ industry-standard KONTAKT platform, putting performances of four of the most interesting and progressive string soloists in London into an easy-to- use tool to access Violin (Warren Zielinski), Viola (Joel Hunter), Cello (Chris Worsey), and Double Bass (Mary Scully) for detailed compositional work while offering anyone an instant, out-of-the-box virtual collaborative experience steeped in personality, quality, and distinction — as of February 15…

The musicians that Spitfire Audio collectively chose to work with when creatively crafting ALTERNATIVE SOLO STRINGS really represent some of the most exciting and in-demand players on the London orchestral session circuit. Collaborating with many of the biggest recording artists in the world to Oscar award-winning movie score performances, there can’t be many major British recordings in existence that haven’t featured these major players in some shape or form!

Frankly speaking, top violinist and musician Warren Zielinski, award-winning viola player Joel Hunter, professional cellist Chris Worsey, and leading UK double-bass player Mary Scully take some surpassing, having amassed an amazing collection of ‘onscreen’ collective credits between them, including: Captain America (Henry Jackman), Fantastic Beasts And Where To Find Them (James Newton Howard), Victoria & Abdul (Thomas Newman), Jason Bourne (David Buckley/John Powell), Interstellar (Hans Zimmer), Sherlock Holmes: A Game Of Shadows (Hans Zimmer), Inception (Hans Zimmer), Tinker Tailor Soldier Spy (Alberto Iglesias), The Twilight Saga (Carter Burwell), Batman Begins (Hans Zimmer/ James Newton Howard), Gladiator (Hans Zimmer/Lisa Gerrard), Lord Of The Rings: The Fellowship Of The Rings (Howard Shore). Meanwhile, musically Nick Cave, Daft Punk, Mark Ronson, UNKLE, Badly Drawn Boy, U2, Goldfrapp, Joni Mitchell, Max Richter, The Divine Comedy, and Christine and the Queens have all benefitted from the aforesaid players’ perfect performance touch(es).

That all being said, the resulting ALTERNATIVE SOLO STRINGS collaboration creates and adds Double Bass and Viola to Spitfire Audio’s previously-released PP015 ARTISAN CELLO and PP016 ARTISAN VIOLIN libraries, all rewrapped with a new interface and KONTAKT PLAYER compatible — and also Spitfire Audio’s first double-bass library to boot!

Better still, all of these instruments carry with them the signature sound of Spitfire Audio — all artfully designed to provide not only that initial spark of inspiration but also broaden understanding of this particular group of instruments. Indeed, Spitfire Audio always prides itself on making precision tools for composers that deliver effectively on the current demands of the industry alongside a deeply-held belief that creating a series of raw, edgy tools that behave with a certain amount of realistic unpredictability leads to the most exciting results.

Recorded at the Spitfire Audio HQ’s ultra-high-spec in-house recording studio and tracked there through the finest equipment, as a result, ALTERNATIVE SOLO STRINGS provides perfect accompaniment to Spitfire Audio’s popular LONDON CONTEMPORARY ORCHESTRA STRINGS, which was recorded in the same location. Let it be said, then, that whilst the spirited and sometimes unpredictable recordings may well pleasantly lead its user into unexpected territory, the sonics of Spitfire Audio’s dry stage provide ultimate control — whether that be an upfront Warren Ellis-style approach, a hyper-produced Hans Zimmer-style overdub on top of a large orchestral bed, or, indeed, a virtuoso performance within the section of a chamber work.

With access to each instrument performing spirited longs and shorts as well as a series of ‘artisan’ articulations, who better to provide a fitting closing comment on ALTERNATIVE SOLO STRINGS’ ability to offer anyone an instant, out-of-the-box virtual collaborative experience steeped in personality, quality, and distinction, then, than Spitfire Audio co-founder and active composer Paul Thomson? “You’ve got quite a large variety of sound in there to play with,” he begins, before giving credit where credit’s due: “Obviously one of the most important elements of this is the players… Warren Zielinski on violin, Joel Hunter on viola, Chris Worsey on cello, and Mary Scully on bass — four incredible performers with beautiful instruments. They’ve played on so many film scores and records that you would lose count. You’ve heard their playing, and they really are an essential element in making this a successful and inspirational tool. So it’s a huge privilege for us to have worked with them. This is not a polite string library; it’s very definitely alternative, gritty, inspiring, and different.” 

 

ALTERNATIVE SOLO STRINGS can be purchased and digitally downloaded (as 53,146 samples needing 29.64 GB disk space) for a time-limited introductory promo price of £169.00 GBP (inc. VAT)/$199.00 USD/€199.00 EUR (inc. VAT) until March 1, 2018 — rising thereafter to an MSRP of £249.00 GBP (inc. VAT)/$299.00 USD/€299 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/alternative-solo-strings/

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

 

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated ALTERNATIVE SOLO STRINGS webpage here: https://www.spitfireaudio.com/shop/a-z/alternative-solo-strings/

 

Watch Spitfire Audio Director Paul Thomson’s ‘traditional’ video walkthrough of ALTERNATIVE SOLO STRINGS here: https://youtu.be/j1WHHaS4X2k

Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s ALTERNATIVE SOLO STRINGS ‘In Action’ video here: https://youtu.be/9zg0m1mw7d4

Watch Spitfire Audio’s informative introductory video for ALTERNATIVE SOLO STRINGS here: https://youtu.be/JiaNL8lKkDU 

Pittsburgh pens love letter to the analogue monosynth with Microvolt 3900 desktop delight

PITTSBURGH, PA, USA: having turned heads and opened ears at The 2018 NAMM Show last month in Anaheim, CA, electronic instruments-maker Pittsburgh Modular Synthesizers is proud to announce that it is taking preorders on its Microvolt 3900 — duly destined to delight desktop synthesizer supporters anywhere as a modern, semi-modular synthesizer inspired by the instruments designed by the company’s heroes, though taking a new approach to building a contemporary analogue monosynth with a host of innovative and unconventional features that makes it stand out from the sound of the crowd — as of February 14…

Thanks to Pittsburgh Modular Synthesizers’ new temperature-stabilised, dual-VCA (Voltage Controlled Amplifier) oscillator core, the analogue audio engine of the Microvolt 3900 feeds a set of timbral wave-shapers carefully crafted for deep harmonic shaping, allowing a layer of additive synthesis alongside the classic synthesis waveforms.

Waveforms are fed into the binary filter, a custom state-variable filter architecture allowing for near-infinite resonance — with or without self- oscillation. Sonically speaking, this creates a juicy, fluid filter, adding depth and energy to the oscillator that can capably scream on demand!

Deeper still, Pittsburgh Modular Synthesizers’ new dynamic vca lies at the heart of the Microvolt 3900’s sound world. Whereas a standard VCA works in two dimensions, the dynamic vca technology adds a third dimension — duly welcomed. When the dynamic vca closes, decreasing the amplitude, harmonics are removed from the source; whereas when the dynamic vca opens, the harmonics are restored. Reality dictates that this mimics the behaviour of sounds in nature. Needless to say, the result is a lively, organic-sounding synthesizer, full of energy. The design of the dynamic vca also allows the instrument to be plucked or struck, so-to-speak, opening up another set of musically percussive possibilities.

Putting more sonic architecture into its intrepid users hands, the semi-modular Microvolt 3900 includes a 39-point Eurorack format-friendly 1/8-inch jack patchbay for complete signal routing control over a full complement of audio and modulation options with several self-explanatory sections clearly categorised: clock, external, midi, output, waveform generator, envelope, filter, vca, modulation, function, and inverting mixer / splitter / offset.

On top of that, a highly-tuned, four-stage (attack, decay, sustain, and release) envelope generator; multitasking function generator (which works as a voltage-controlled envelope, LFO, and oscillator); wide-ranging lfo (Low Frequency Oscillator); chaotic random source (random complexity); multi-mode sequencing arpeggiator; and MIDI-to-CV (Musical Instrument Digital Interface to Control Voltage) control are also available to create dynamic sounds unique to the Microvolt 3900.

With concluding crowning additional achievements including a voltage-controlled, West Coast-style wavefolder (fold timbre); switchable harmonic sine wave; external preamp with 30 independent gain and output level controls; classic Pittsburgh Modular Synthesizers lowpass filter with extended resonance; dynamic vca with standard vca and lpg (Low Pass Gate) modes; variable overdrive on output; chaotic (random) rnd cv and rnd gate generator; and that 39-point Eurorack format-friendly patchbay… put it this way: with the feature-packed Microvolt 3900 Pittsburgh Modular Synthesizers is definitely destined to delight desktop synthesizer supporters anywhere as a modern, semi-modular synthesizer inspired by the instruments designed by the company’s heroes, though taking a new approach to building a contemporary analogue monosynth with a host of innovative and unconventional features that makes it stand out from the sound of the crowd!

The Microvolt 3900 is scheduled to ship to Pittsburgh Modular Synthesizers’ growing global network of authorised dealers and resellers (https://pittsburghmodular.com/dealers) on April 27, 2018, when it will become available to purchase with an RRP of $629.00 USD.

For more in-depth information, please visit the dedicated Microvolt 3900 webpage here: https://pittsburghmodular.com/microvolt

Watch Pittsburgh Modular Synthesizers’ inviting introductory video for the Microvolt 3900 here: https://youtu.be/rJZAKcVsDAg