KRK Rokit 8 G4 White Noise Trust or Bust?

FluxWithit takes a serious look at the Rokit brand monitors.

KRK Rokit 8 Gen4 White Noise Edition

KRK Rokits evoke emotion in home studio enthusiasts no doubt about it. I wanna start this article off by saying, I know. I know the history, I know the past. I was there. I was in those home studios where Krk Rokits really became as prolific in homes studios, as those white coned monitors did in the studios of the 80’s… But the yellow coned booming sound gained its massive home studio adoption for arguably opposite reasons. KRK Rokits of old just made things sound good where as those white coned units were known for being so bad that if your mix sounded good on them, it would translate all over. they were affordable, had a great low end extension for the money and they were noticeable with that bright yellow cone. sounding good however is not always what you want from a studio monitor. What you might be after is truth. Sometimes those little lies that make us happy, can hurt us down the road in a mix. There in lies the controversy with KRK Rokits. known for being entry level monitor that delivered great sound, but at the cost of covering up some of our mistakes.

So here we are today, many generations of updates later with KRK Rokits now on their 4th generation. Are these Rokits the same as the old Rokits? Well thats my goal to find out. I went into this review with an open mind and a curiosity. The first thing I noticed about these new generation of monitors is that in built DSP is standard on the Gen4 Rokits. There is a nice graphic display panel round back that has a very easy to use control knob which doubles as the volume control (ok volume in this case is actually monitor input sensitivity but I digress.). This screen indicates a pretty significant shift. Krk is giving you 25 eq setting to better suit the acoustic environment that your monitors are placed into.

The volume knob to the right can be pushed in to confirm selections and is very easy to use.

I was a bit skeptical about this at first, however there is a really cool feature of these monitors when setting them up… KRK includes an app (that is actually use for any brand monitors not just these KRK monitors!). The app KRK Audio Tools available for ios and android assists you in everything from aligning your monitors at the correct angle to your listening position, room equalization (for use with the onboard DSP eq.), Delay time alignment, phase alignment, a signal generator as well as a FFT spectrum analyzer all with simple to understand instructions. Once you have used the app to set up and test your monitors it will give you recommendations on EQ settings for the onboard DSP which you can then double check against your FFT in app.

KRK Audio Tool APP has a host of easy to use tools to set up your monitors.

This onboard DSP and APP functionality is a bigger deal than you might think. It points to acknowledgment from KRK that there is flexibility to these monitors. Yes we want flat mixing monitors but the truth is, when producing sometimes you want your mix to be enjoyable BEFORE you get to that mixing stage. With these Gen4 monitors you get the best of both worlds. you can have that loud punchy sound associated with Rokits that makes producing banging beats so fun… and then when you want that flat mix, you can enable the onboard DSP and flatten the mix out. It’s not even a hassle to switch between the settings. Thats pretty cool in my book.

Back to the point of clarity and a true mix. I have noticed that these monitors are far more defined than their predecessors. I used to get annoyed with Gen2 because I felt the mids just were not as clear as I would like. With the Gen 4 I am not having any of those feelings at all. mid range clarity seems to be on point. I don’t know if this is due to the upgraded materials on the cone and tweeter. Now a very visible Kevlar® weave. This trickles down from KRK’s high end monitors the V series. the new wave guide and single piece design is touted to be a low resonance enclosure. To that point I made sure to test a wide range of frequencies to try and get some rattle or resonant peaking out of these monitors yet they stayed remarkably accurate. While working on sound design for a new synthesizer I found my self often moving between monitoring solutions to double check clarity. I was cautious with trusting a new monitor set especially considering I am also in a newly built studio that I have yet to become fully accustomed to yet. the Gen4’s consistently were providing me with a translatable sound that wasn’t over hyped yet didn’t leave me wanting for bass. No sub needed. With my JBL monitors I found my self really needing my sub in order to keep things flat. The KRK’s however seemed to not strain at the low end. Again I do suspect this has to do with the Kevlar cone and new drivers. Side to side movement is less a strong point on these monitors from the JBL monitors as I do notice the sweet spot is a little more direct but not nearly as pronounced as previous generations, certainly acceptable. vertically I feel the range of sweet spot is very good giving a rather wide range (I tend to sit and stand often when working so this is pretty important to me.)

Loudness of KRK’s has long been a feature for many a beat maker. These new Gen4 are no slouch in that category. These deliver a max spl rating of 111db (3 db higher than the previous generation) So I don’t think you will need to worry about filling your room with sound. At higher sound pressures I did not notice any case vibrations or looseness that would cause any sort of rattle. This was something I was initially concerned about considering the front panel is actually magnetically held in place (more on that later.) I was quite relieved to hear no odd rattles.

The LCD is easy to read and navigate

The big front port on these monitors means that you can optimize space in your studio. Unlike rear ported monitors these are less susceptible to rear walls intruding on your sound clarity. This can help maximize your monitor placement in smaller rooms. I highly recommend you give the manual a read (WHAT WHO EVER RTFM?!?!) It is actually filled with a bunch of very useful info and explains in detail things like how the amp works, how the grills work and tips on monitor placement as well as a better understanding of how the monitor design functions as a whole.

The Front baffle is actually held on magnetically. you can pull it off to install the filter grille covers to prevent damage to the cones. the grilles do not effect frequency response.

Ok so What is my overall feeling on the Rokit 8 Gen4 white noise? Well I think there are some pretty obvious improvements over the previous generations. The not so obvious improvements really are the stand outs for me though. KRK is taking the affordable lower cost monitor market and adding a ton of value. Monitors that are now able to retain midrange clarity while also extending down to an earth shaking 36hz is no small feat. The ability to easily tailor your monitors to your environment by way of the APP as well as the on board EQ is something that previously would have cost a few hundred dollars more at the minimum. Couple that with the fact that it is laid out in a way that those not accustomed to making these sorts of adjustments can understand… thats a big deal. You don’t need to be an acoustician to understand that you should have a properly treated room. However even with a treated room you still need to align your monitors correctly and compensate for room modes etc. KRK holds your hand rather nicely through this process. IMHO that adds a lot of value. I have to say, those big yellow cones used to be a sign of producing rather than mixing. Now I can confidently say that these are at home in both the mixing environment as well as the production environment. I plan on using these monitors for another good 6 months or so and revisiting this review. My opinion is that the only real way to review a monitor is with a long term review. lets see how these Kevlar® cones stand up over time (I suspect they should quite well.) I am feeling quite optimistic about the future of this series.

Erica synths preorder for syntrx analog synthesizer now open!

Erica Synths Opens Pre-Ordering for SYNTRX analog synthesizerCollaboration between Erica Synths and engineers from Riga Technical University results in a new kind of user interface that inspires users to explore the sonic universeRiga, Latvia, February 20, 2020 — Erica Synths announces that it has opened pre-ordering for its new SYNTRX all analog synthesizer.  SYNTRX, which features three highly accurate VCOs and a inspiring new digitally controlled analog patch/mixer matrix, will begin shipping to customers in April on a first-come, first served basis. Since the very beginning of the company, Erica Synths has promoted experimental electronic music, developing instruments that enable musicians to unleash their creativity. When it comes to standalone instruments, one of most encouraging instruments in experimental music was the Synthi AKS. In the spirit of innovative collaboration, Erica Synths teamed up with engineers from Riga Technical University to develop a synthesizer with a user interface that challenges conventional wisdom in a sound design. The result is an instrument that will inspire users to explore the sonic universe and travel to previously undiscovered audible realms. SYNTRX is an all analog synthesizer developed from scratch. Following are features and specifications: 3 highly accurate VCOs that track great over 8 octavesOctave switch for the VCO1Sync option for the VCO2Noise generator with “color” filterResonant VCFRing modulatorSpring reverbASR/AD looping envelope generatorJoystick controllerInput amplifier with adjustable gain3 VCAsSample & Hold circuit with an individual clockOutput signal filterMechanical CV/audio signal level indicatorMIDI In and MIDI ThruBuilt in speakersDimensions: 309mm x 457mm x 115mm (with the joystick in centre position)Weight: 4.05 kg
Erica Synths will make a user manual available on April 25th. To learn more about pre-orders on SYNTRX, which is priced at € 2,500.00, please visit the Erica Synths product page

ABOUT ERICA SYNTHS
Erica Synths team of visionaries, engineers and musicians have been working hard to bring you modules and instruments that will set your modular system apart from mass in terms of how it sounds, looks and functions

Audio damage releases virtual analog MPE supported continua synth

     AUv3 64-bit        IAA & Standalone 64-bit
     iOS 11 or newer and a separate purchase, coming soon! 

VIDEO OVERVIEW

 
HIGHLIGHTS

Oscillate! 
Continua is a virtual analog synth with a twist: a continuously morphable threesome of oscillators. With three interconnected controls defining the wave shape, Continua has a virtually limitless supply of waveforms, especially when you add cross modulation and noise in to the mix.  
Filter!
With two morphing state-variable filters (morph between LP, HP, BP and notch in 2-pole and 4-pole topologies), Continua has a broad palette of tone-shaping at its disposal, and is well suited for long, complex, evolving soundscapes. 
Modulate! 
With a whole host of modulation possibilities, Continua is capable of both simple synth sounds or huge, evolving soundscapes. With two ADSRs and two Flexible Envelope Generators (essentially an envelope sequencer), plus four of our Flexible (continual waveshape) LFOs and a sophisticated sample & hold function, you can modulate any knob on the user interface with a simple right click (double tap in iOS.) 
Control!Continua is fully customizable to your taste and playing style. With full and extensive MPE support, it can take advantage of the extended control set of your Linnstrument, Seaboard, Soundplane, Continuum, or other MPE controller, and support for TUN files lets you use tuning tables. The resizable Hi-DPI GUI lets you adjust the size to match your visual needs, and the cross-platform preset mechanism lets you share your creations with your friends and collaborators, no matter what system they are using. Save your preferred settings as the default state, and Coninua will always be exactly what you need. 

AUDIO EXAMPLES


FEATURES

  • Three Flexible Oscillators
    Continuously variable morphing waveform, with warp, shape, and skew controls.
  • Dual Morphing Filters
    Filters can be used in serial or parallel modes, and morph from lowpass through bandpass and highpass to notch in 2-pole and 4-pole configurations.
  • Noise Source
    Noise source features a “color” control that affects tonal characteristics of the noise. 
  • ADSR x 2
    Continua has two ADSR-style envelope generators, with curve on attack, decay, and release.
  • Flexible Envelope Generator (FEG) x 2
    The two FEGs are arbitrary function generators, with up to 99 steps, curve and step level control, arbitrary loop points, and host tempo sync. 
  • Flexible Low-Frequency Oscillator (FLFO) x 4
    The four FLFOs utilize four controls (phase, shape, skew, and warp) to access a virtually limitless palette of waveforms, and feature host tempo sync and retrigger. 
  • Sample And Hold
    The S&H mod source can sample noise (random) or any of the other mod sources, at either a user-defined rate or a musical division, and includes built-in smoothing and distance limit (for a “walk” effect).
  • Modulation
    Every knob in Continua is a mod destination, with a very fast and simple assignment matrix access with a right-click on the knob (double-tap on iOS). 
  • Tuning Tables And Global Tuning Offset
    Re-tune Continua to new intonations and temperaments using the open-source and easy-to-use TUN file format. A global tuning offset (default to A=440) allows you to easily retune the entire synth to match a different A frequency without using a tuning table. 
  • MPE (MIDI Polyphonic Expression) 
    Continua understands both “legacy” MIDI and MPE. Use your Linnstrument, Roli Seaboard, Haken Continuum, Madrona Labs Soundplane, or Sensel Morph (among others) to directly access per-note pressure, pitch bend, and modulation. 
  • Per-Instance Settings
    Continua utilizes a per-instance customization method: set MPE mode, aftertouch smoothing, pitch bend range override, tuning table, and global tuning offset for each instance in your DAW, with an option to save any state as your global starting point.
  • Factory Presets
    Continua comes with a substantial collection of factory content, including Designer Presets from Red Means Recording, Glitch Machines, and Sonalsystem.
  • Cross-Platform Preset Format
    Continua utilizes an XML-based preset manager. Work between multiple systems without troubles, make a preset on your desktop machine and paste it to the iOS version with Handoff, easily share your creations with your friends, or make a preset bundle to sell.
  • Fully Resizable Hi-Dpi/Retina GUI
    Continua’s vector-based GUI is resolution-agnostic, and displays the same on every system and resolution. Easily resize the UI (per instance) to match your visual needs, from postage stamp to poster-sized.

ADDAC 4 quadrant mixer announced

ADDAC System 805 Eurorack Module Offers Four-Quadrant Mixing

ADDAC System 805 Eurorack Module Offers Four-Quadrant Mixing

Inspired by its renowned 701 VCO waveform mixing section, the 805 VC Signal Router employs three X-faders for advanced morphing and sweeping of signals

Lisbon, Portugal, December 20, 2019 — ADDAC System has announced availability of its new 805 VC Signal Router. While taking up just 8hp of space and priced at €160, the VC Signal Router is an economical way to add significant dimension and new signal flow options to just about any modular set up.  

Inspired by ADDAC System’s 701 VCO waveform mixing section, the new VC Signal Router also updates the company’s legacy X-Fade/Panner to a stereo configuration that also allows four quadrant mixing. This feature is achieved by using the stereo Master knob as an X-fader between the left and right channels. By plugging in the four audio sources and sweep/crossfade between any of them using the three combined X-faders, users can plug any four sources (for instance, four waveforms of a VCO, four LFOs, four envelopes) —  then sweep, morph or mix them to their heart’s content. 

Story image

“Our VC Signal Router builds on some basic mixing principles derived from our 701 VCO waveform mixing section, while bringing in a new dimension of sound placement possibilities,” said André Gonçalves, founder of ADDAC System. “Even though the 805 requires a relatively small investment. four quadrant mixing can add a glacial effect to just about any soundscape.”

A peculiar signal flow meant to inspire
The VC Signal Router features two dedicated X-faders and a stereo VCA that can also be used as a third X-Fader. All controls have their own CV inputs and dedicated Attenuverters for precision control. Left and Right X-fader channels can also be routed through the Master stereo VCA or sent directly to the outputs. Further, a stereo Direct input can also be routed through the Master VCA or sent straight to the outputs. 

The Mono Sum output always mixes Left and Right outputs together, allowing users with the possibility of using the module as a peculiar six channel mono mixer. It can be used for both Audio or CV Signals. 

Story image


Features:

  • 6 mono inputs

  • 2 dedicated X-faders with Control knob + CV Input and Attenuverter Each X-fader can be routed through the Master mix or straight into the outputs.

  • Master channel can be used as a stereo VCA or an X-fader
Stereo direct inputs can be routed through the Master mix or straight into the outputs.

  • Fully analog audio path with high quality/low noise VCAs. 

To learn more about the ADDAC System 805 Eurorack module, please visit the ADDAC System website


About ADDAC System
ADDAC System develops advanced instruments for sonic expression. The company began in 2009 with an ambition to explore the potential crossover between analog synthesizers and computers. Today, ADDAC System’s product line is focused on a new breed of hybrid synths that utilize the best of both the digital and analog worlds. We’ve grown to be able to reach thousands of enthusiastic clients, friends and collaborators. ADDAC System’s solutions — which are used in many musical genres — can be found in many personal studio throughout the world and routinely used by musicians in several planes of stardom.

TA Programming new Studio MIDI And CV Interface full synthesizer control system



TA Programming announces availability of Studio MIDI And CV Interface full synthesizer control system debut


LONDON, UK: following a successful showcase in October at Sheffield’s Synthfest UK 2019, billed as being the UK’s biggest synthesizer event, advanced creative technology designer TA Programming is proud to announce availability of its inaugural Studio MIDI And CV Interface full synthesizer control system — capable of controlling multiple synthesizers simultaneously via voltage control outputs and MIDI/USB with extra-low latency while keeping analogue instruments, vintage or otherwise, perfectly in tune with each other — as of December 20…
According to TA Programming CEO/CTO Tim Aviss“We designed this interface to be not just a solution to problems that we’d encountered when controlling synthesizers in the past, but to unlock a whole new world of creativity with synthesizers from one interface.”
Indeed, TA Programming’s debut design does just that, thanks to its innovative implementation of complimentary connections, comprising MIDI In and MIDI Out alongside USB I/O for MIDI and serial bus connectivity, together with four universal CV CONTROL outputs. On the face of it, then, the Studio MIDI And CV Interface full synthesizer control system is creatively kitted out to target the hotly-contested competition out there already. After all, those four universal CV CONTROL outputs can perform any function regardless of whether it is for producing Pitch, Gate, or Aux signals. Saying that, an unlimited number of universal CV CONTROL outputs can quickly be created by daisy-chaining multiple interfaces via the MIDI ports. Also, any source — such as Pitch, Note On/Off, Velocity, Aftertouch, any MIDI CC number, signals from a DAW, and more besides — can be selected via USB or MIDI.
Fortunately for anyone putting the Studio MIDI And CV Interface to the test, the voltage of the configured output is completely user definable between -9V and +10V, providing plenty of range to satisfy the requirements of almost all synthesizers, past and present. Put it this way: with this level of versatility, the Studio MIDI And CV Interface provides its users with complete control over note range scale — from microtonality all the way through to the limits of the connected synthesizer. Thankfully, TA Programming’s proprietary tuning technology is capable of handling even the most stubborn scaling issues, effectively eliminating scaling and tuning issues on any analogue synthesizer, including non-linearities. This technology is built upon a six-point multi-mapping system that uses advanced interpolation and modelling algorithms all within a floating-point mathematical model before conversion to control voltages are applied in real time. In other words, once a tuning profile has been configured for the synthesizer concerned, TA Programming’s proprietary tuning technology works out the control voltages said synthesizer needs, regardless of tempco (temperature compensating) resistor variation, in order to produce pitch-perfect notes in real time — a must-have for owners of vintage or more modern analogue synthesizers alike!
Additionally, the Studio MIDI And CV Interface is MPE (MIDI Polyphonic Expression) compatible, capable of sending out full MPE via MIDI DIN or mapping single channel/polyphonic MPE out of the universal CV CONTROL outputs. As all five control dimensions are natively supported, users can be sure that their synthesizers will be as musically expressive as allowed by the MPE method.
Meanwhile, the interface itself has internal circuitry powered by USB. Ultimately, however, TA Programming pushed itself hard to ensure that the power supply can tolerate variances in input voltage so that the resulting supply is always as clean as possible, providing the highest control voltage accuracy, as well as preserving tuning and configuration regardless of the USB host.
Having said all that, TA Programming’s powerful control software allows anyone to completely configure their Studio MIDI And CV Interface. In addition to this, they can host USB MIDI controllers in the software itself, thereby bypassing their DAW, if desired. Said software also provides plentiful MIDI processing features — from LFOs to BPM-locked arpeggiators, keyboard splitting over MIDI, and much more. TA Programming plans to regularly update the interface’s firmware and control software so that its users can always access the latest features following their initial purchase.
Last, but by no means least, the Studio MIDI And CV Interface always automatically stores its user’s current configuration with no need to click save. So feel free to travel between recording studio and performance venue safe in the knowledge that their current configuration will automatically load when the interface is powered back up. Upon connection to their computer, the control software will automatically pull the current configuration from the interface itself to allow for easy editing. And as if this was not exciting enough, an unlimited number of presets and profiles for all the synthesizers in anyone’s setup can be saved to the computer and reloaded into the interface at any time.
TA Programming looks all set to play to win with its inaugural Studio MIDI And CV Interface. Owners of vintage and more modern synthesizers simply owe it to themselves and their treasured instruments to test TA Programming’s debut design. It is no ordinary MIDI-to-CV convertor, clearly!

The Studio MIDI And CV Interface is initially available for purchase — priced at £249.00 GBP — directly through TA Programming here:https://taprogramming.com/product/midi-cv-interface/
For more in-depth information, please visit the dedicated Studio MIDI And CV Interface webpage here:https://taprogramming.com/product/midi-cv-interface/
Watch TA Programming’s Studio MIDI And CV Interface introductory video here: https://youtu.be/X0Vrqw3NESE
Watch musician and producer Lawrence Hart putting the Studio MIDI And CV Interface through its MPE-compatible musical paces here:https://youtu.be/fYqsuc-2iS0 

 

Ik multimedia brings the hammond b-3x to iOS

IK Multimedia brings Hammond B-3X virtual instrument to iPad

In partnership with Hammond USA and Suzuki Music Corp. of Japan, IK’s Hammond B-3X is the first real Hammond® organ for iPad complete with Leslie™ speaker

Hammond B-3X for iPad - Image 1

December 17, 2019 – IK Multimedia announces the Hammond B-3X tonewheel organ virtual instrument for iPad. This new app maintains all the realism, detail and features found in the Mac/PC version, which was created in close collaboration with Hammond USA and Suzuki Music Corp. of Japan, but now available on an even more portable device, making it ideal for a streamlined live performance or travel recording rig.

Hammond B-3X for iPad meticulously recreates the sound, controls and entire effects signal path of the legendary Hammond® B-3. This comprehensive approach offers a level of realism and detail that will satisfy the most discriminating B-3 fans while also offering an affordable introduction to the unique world of tonewheel organs that can be enjoyed by all levels of players.

The new app is ideal for performing musicians looking for a simplified stage rig, letting them run Hammond B-3X on an iPad instead of a dedicated laptop, with full compatibility for MIDI controllers and Hammond digital organs. Hammond B-3X for iPad also supports the latest AudioUnits format, allowing it be used as a plug-in in many of today’s most popular recording apps, for an ultra-portable travel studio that delivers world-class realism and features.

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

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

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

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

Hammond B-3X for iPad - Image 2

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

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

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

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

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

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

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

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

  • Mixer – blends the sound of the Leslie, with independent volume and panning of both the horn and drum mics, the parallel guitar amp, and the DI organ sound for unprecedented tonal flexibility
Hammond B-3X for iPad - Image 3

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

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

Pricing and availability
Hammond B-3X for iPad is available from the Apple App Store® with a special introductory price of $99.99 through March 2020.

*Local pricing is determined by Apple, based on exchange rates.

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

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

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

Producers know there is a reason the E520 kickstarter has more than doubled its goal…

the SynthTech E520 Hyperion Stereo Effects Processor is the new producers secret sweetness.

e520 hyerion stereo effects processor

this new effect processor is the latest module … wait is it a module? sure … but more than that it’s the latest Processor from Synthesis Technology. I say that it is more than a module because this thing can be slapped in a stand alone case (4ms pod) and used at line level with your gear. Not content with just being another eurorack module, this is firing shots a bit further.

When the kickstarter went live, it took less than 48 hours to surpass its goal. Now it is deep into its stretch goals and some videos of the development version are making their rounds on the interwebz.

Lets take a look at whats going on here and think about how this module can be a serious desktop stand alone processor for everything from lo-fi hip hop effects, to pristine delays, reverb, and mind altering spectral effects. all without taxing your silly CPU.

if you want some of this wild sauce I highly recommend getting in on the Kickstarter now. SynthTech modules tend to sell out and then you end up on either a waiting list or just waiting…. and waiting. while everyone else reaps the benefit of exquisite design and build quality. https://www.kickstarter.com/projects/697230891/synthtech-e520-hyperion-stereo-effects-processor

Synthesis Technology E520 Kickstarter is Live and almost funded already!

The Synthesis Technology E520 is a much anticipated FX module. The Kickstarter page has now gone live as of only 4 hours ago and is already more than 3/4 of the way funded.

more than 50% funded in only an hour!

Focused on Spectral FFT fx to manipulate audio. Pitch shifting vocoding and spectral crushing to name a few. the E520 is also capable of high quality time domain fx such as looping, delays, and more.

The Kickstarter has some interesting rewards such as early bird pricing and a bundle that includes a 4ms pod case for stand alone usage. check out the kickstarter now to secure your early bird price!

I recently sat down with Paul Schreiber of Synthesis technology for an indepth interview about the e520. Check out the SynthSummitShow episode

Paul is known for being an excellent interview and though we were planning on keeping this one to just an hour…. well there is just too much good stuff to talk about!

be sure to check out the kickstarter and share it around to support another impressive module from synthtech!

https://www.kickstarter.com/projects/697230891/synthtech-e520-hyperion-stereo-effects-processor?fbclid=IwAR1siu_il33ZBU9-gevCthKdU-t8Q088my9nU-aE2Lfm-_u0FWxBq2cHdZs

here is a link to the E520 demo page for some nice audio examples. https://synthtech.com/eurorack/E520_DEMO/