Analog Solutions Leipzig v3 gets a facelift for desktop

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




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


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

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


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


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

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


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

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

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


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

Alpha Evo 6.5

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

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

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

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

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

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

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

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

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

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

All trademarks are the property of their respective holders.###
Many more Focal Alpha Evo photos available & high-resolution available, email: pauljdb@gmail.com

New Focal Alpha 50 Evo and Alpha 50 Evo: 

My thoughts on the SPL Marc One Monitor and Recording Controller

In a home studio setting there are a few things to consider when working on a mix, sound designing , or generally exploring sound that will be eventually played back in other listening environments. One of the major factors is of course how a mix will translate across different audio monitors.

Because of this necessity for mix translation, it is not uncommon to have more than one set of monitors in your set up. Often times this can pose an issue for home producers on how to accurately switch between monitors and gauge how a mix is translating between monitors.

I tend to handle a lot of preset design, and testing of gear pre and post release. This means I am often trying to evaluate sound for a variety of environments and use cases. Often I need to be critical of strange unexpected behavior in audio gear. Listening on more than one set of monitors and with a variety of options can be critical for this task.

This is where the SPL Marc One comes into play. The obvious actions are of course the ability to simply flip a switch and flick between two sets of monitors. This sounds trivial but there is more to it than that.

The first is that there are two sets of monitor inputs, one with a sub and one without, I tend not to use the sub output as my monitors sub has a built in cross over so the stereo out routes through the sub. Between the A/B monitor switch is the OFF position. This is a handy quick mute function to turn off both monitors.

The volume control is a large knob with analog control. This is important to me. It means monitoring at lower volumes will not reduce audio quality of playback as some digitally controlled devices may do. It also means that I always have direct hands on control of my audio level, no glitches or hang ups will prevent control.

The Marc One Front and back

Next to the volume is our Stereo controls. This allows us to quickly flip between mono, stereo and Flipped monitor configurations (flipping the left channel to come out the right speaker and visa versa.) I have to admit while I am used to using a mono control for mixing , the left right flip was a bit of an eye opener to me. Many people have a dominant ear and its been proven that we perceive music differently in one ear and speech in the other. I found myself using this switch more often than I expected and it really helped me trouble shoot some strange audio issues.

Next up are two small LED that indicate if the converters are being overloaded. This can not be understated. I have become very aware of the sound of modern day converters overloading and how they can alter your sound. in the modern age this can be slightly more complicated than in the past due to converters having soft clipping built right into them. Often times this soft clipping isn’t the harsh digital clipping we have grown accustomed to spotting so easily. Having a quick overload LED indicator is quite nice to just confirm that you are within the limits before any sort of distortion can occur.

Now before moving on lets just talk a bit about those converters. These days converter tech has really exploded and we have some fantastic chips out there. the SPL Marc One takes advantage of this by using the AK4490 converter chip for the USB audio which enables sampling frequencies up to 768kHz. Those numbers are rather astounding and delivering a 10Hz–200kHz frequency range, 121dBu of dynamic range, -99dBu of self-noise, and 0.002% total harmonic distortion. These are literally top shelf numbers.

These Analog audio inputs can be blended with USB digital audio inputs utilizing the convert mentioned above. there is a smooth control to blend between these inputs.

Next up with have the Headphone controls. Here you will notice a familiar volume control but then you are presented with a “Crossfeed” control. This is the Phonitor Matrix headphone controls. What this does is essentially allows your headphone output to have a bleed across left and right channels while also simulating speaker angle of 30 degrees and a center level of -1db. All controlled through one Crossfeed knob to adjust to taste and your headphones no longer sound like static left right cans on your head. They feel like speakers in a physical space. What I like about this is that it didn’t feel like an effect slapped onto a mix. listening to familiar material it simply made my headphones melt away and I felt like I had a pair of monitors at a proper listening positioning in front of me. There is still proper channel separation going on but it doesn’t feel hard line like headphones usually feel. I found my self enjoying music with headphones on and preferring the crossfeed turned up about 3/4 of the way up.

My Use case might be a tad different from others. One of the recommended methods of operation is of course to send your DAW output direct to the USB input on the Marc One. For me I was primarily using the Analog inputs and I would use an Ipad input into the Marc one for sound designing presets on the ipad. I like to work stand alone from my computer quite a bit and my audio interface often acts as a patch bay without forcing me to use a DAW. This method was seamless with the Marc one and VERY helpful. It essentially means you have the highest quality iOS audio output available… whats not to like?

So lets get to the cons… I had tho really think about this and honestly I think the only thing I would have liked to see included on this would be a way to disengage the sub on channel A with a footswitch while still sending audio out channel A (this is often a separate device though and understandable.) I also would have really liked a Dim as well.

Overall I really enjoy it. much of the design is over the top with quality. Thats something I can always get behind. Who do I think really benefits from a controller like this? I think especially people with audio interfaces that do not already have monitor controlling built in certainly. However I currently use a MOTU 828es as my main interface and it has monitor controlling built in already. Thing is the MOTU has a Mute and mono but it does not have the immediate analog volume control, the channel swap, the Crossfeed Phonitor headphone mix nor the ability to add in the USB audio of an external source without having to dive into my software.

SPL Marc One Monitor and Recording Controller Features:

  • Monitor and recording controller built with top-drawer components
  • Switchable outputs for 2 pairs of speakers
  • Subwoofer output switches on and off with speaker pair A
  • 2 analog stereo inputs and 1 digital input — enough to hear your mix and reference tracks
  • 3 monitoring modes: Stereo, Mono, and Channel Swap
  • AK4490 converter chip enables sampling frequencies up to 768kHz
  • Class AB output stage with ample power for a wide range of popular headphone models
  • Phonitor Matrix with Speaker Angle, Center Level, and Crossfeed parameters for a speaker-like monitoring experience
  • Supplied 12V plug-in power supply
  • Secondary internal power supply generates +/-17V for the analog audio sections for pro levels up to +22.5dB

Price $799 USD

If you don’t want the USB capabilities. you can opt for the SPL Control one which offers the same features minus the USB input and monitor blend for $599

New Dual stage saturation plugin Neold Big Al announced

Plugin Alliance announces availability of one-off dual-stage tube saturator plugin as BIG AL arrives from NEOLD

“This is such a great tool to add glorious harmonic saturation, extra flavor, and vibe!”

– JUNO Award-winning mixer/recording engineer George Seara (James Bay, Drake, Shawn Mendes, Sting), 2021

SANTA CRUZ, CA, USA: Plugin Alliance, supporting all major plugin formats and uniting some of the best- known international audio companies under one virtual roof, is proud to announce availability of BIG AL — an emulation based on one-off analog hardware harvesting novel circuitry and authentic NOS (New Old Stock) components from the 1930s, exclusively designed for this dual-stage tube saturator from new pro audio plugin partner NEOLD offering a broad palette of stunning sound flavors flowing from the interactive network within its preamp and transformer-coupled power amp, where it generates gorgeous harmonics — as of February 2…
BIG AL’s frequency conditioning begins right in the EF9 preamp stage. Indeed, it is a filter freak at heart — hence the Low control being implemented as a Baxandall filter that allows for adjusting saturation intensity by around 100Hz in (optional) combination with boosting or cutting the bass at the same time. The High control is an additional EQ band placed in front of the preamp tube; its peaking filter boosts or cuts high-frequency content around 10kHz — essential for provoking or taming BIG AL’s potentially aggressive treble!
The straightforward user interface is spiced up with a jumper matrix, allowing access to BIG AL’s core circuitry: (Emphasis Shift), (Bass Compensator), and (Voltage Sag) provide powerful options with which to make complex changes to the distortion profile on the fly by simply inserting or pulling out a few (virtual) plugs. An AL4 power pentode and its output transformer act as the finishing spice, driven hot by the preamp stage.
And anyone wondering what this all adds up to need not trouble themselves any longer because BIG AL is a truly gorgeous kind of harmonic saturation that will always sound organic, musical, and bold! 

NEOLD BIG AL is available for purchase (as an AAX AudioSuite-, AAX Native-, AU-, VST2-, and VST3-supporting effect plugin for macOS 10.9 through 10.15 and Windows 7 through 10) at an attractive introductory price of $149.99 USD until March 4, 2021 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $199.00 USD — from here: https://www.plugin-alliance.com/en/products/neold_big_al.html

A fully-functional, 14-day trial of NEOLD BIG AL is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html
NEOLD BIG AL is included in Plugin Alliance’s monthly MIX & MASTER Bundle (https://www.plugin-alliance.com/en/products/pa-mix-master-bundle-monthly.html) and annual MIX & MASTER Bundle (https://www.plugin-alliance.com/en/products/pa-mix-master-bundle-yearly.html) subscription services, and also its monthly MEGA Bundle (https://www.plugin-alliance.com/en/products/pa-mega-bundle-monthly.html) and annual MEGA Bundle (https://www.plugin-alliance.com/en/products/pa-mega-bundle.html) subscription services at no extra cost!
Note that the proprietary Plugin Alliance Installation Manager means users can select, download, and install only the products and formats needed for their system.
For more in-depth information, including several superb-sounding audio demos, please visit Plugin Alliance’s dedicated NEOLD BIG AL webpage here:https://www.plugin-alliance.com/en/products/neold_big_al.html
Watch Tom Van Den Heuvel formally introduce BIG AL in Plugin Alliance’s awesome-sounding trailer video here: https://youtu.be/e3sWXKHliSY
Take a NEOLD BIG AL walkthrough with Plugin Alliance’s additionally informative video here: https://youtu.be/sFCVunozUxE 

IK multimedia UNO PRO synths announced

New paraphonic dual-filter analog synthesizers elevate the UNO lineto new levels of sound design, flexibility and connectivity

UNO Synth Pro - Image

January 13, 2021 – IK Multimedia announces UNO Synth Pro and UNO Synth Pro Desktop. Developed in collaboration with Italian boutique synth-maker Soundmachines, both these new analog synthesizers take the groundbreaking UNO Synth monophonic synth and expand it in nearly every section: more oscillators, more filters, more sequencer memory, more effects, more presets, more connections and more programmability. UNO Synth Pro puts this amazing new sound engine in a rugged metal chassis with a 37-key synth-action Fatar keybed, while UNO Synth Pro Desktop provides a more portable form factor to travel anywhere.

Uno pro $649

The UNO Synth Pro’s unique dual-filter, 3-oscillator paraphonic design lets it create nearly any synth sound imaginable, and with 256 presets, a new 64-step sequencer and expanded CV/Gate and audio connections, users will quickly find it’s the ideal creation station for any outboard rig.

Huge, real analog sound
Three analog oscillators offer continuously variable waveshape, including pulse-width modulation. Oscillators can be hard-synced for more harmonically-complex tones, and oscillator FM (frequency modulation) lets users shape everything from bell-like sounds to screaming industrial tones. UNO Synth Pro even includes ring modulation for wobbly, sci-fi sound, and a white noise generator for a wide range of percussive sounds and epic rises.

Uno synth pro desktop $399

Dual-filter design with 24 available modes
In addition to the original UNO Synth’s 2-pole OTA multimode filter, UNO Synth Pro adds a new SSI 2/4-pole LP filter with self-oscillation. The dual filters can be used in series or parallel, with invertible phase, for a total of 24 possible filter modes. This unique design offers nearly limitless tonal possibilities, from recreating classic vintage sounds or forging completely new, experimental sounds.

Massive sonic flexibility
UNO Synth Pro offers two full ADSR envelopes, one dedicated to the filter and the other to amplitude, with both available as sources to modulate everything from oscillator pitch and waveshape to LFO speed or even other envelope stages. Two LFOs (low-frequency oscillators) can create classic synth vibrato, wah and tremolo as well as do more complex modulations including audio range FM.

A 16-slot modulation matrix makes routing all these a breeze. Users can quickly and easily design even the most sophisticated modulation scheme, with both internal and external sources, including MIDI controllers.

Deep onboard effects
UNO Synth Pro offers four effect blocks: an analog overdrive circuit from the original UNO Synth, plus three new, custom-designed digital effects: modulation, delay and reverb. External signals can also be routed through these effects, with pre-effects filtering for added flexibility.

Improved playability
UNO Synth Pro offers a premium 37-key synth action keybed made in Italy by Fatar, while UNO Synth Pro Desktop provides an enhanced version of the original’s long-lasting capacitance-sensing keys along with pitch and mod strips for enhanced expression. Both units add firm-touch rubber pads for the control sections, plus LED-backlit indicators and an LED display for key information, making it easier than ever to use live on stage or in deep programming sessions in the studio.

image
  1. First-class analog sound
  2. Dual state variable filters
  3. Discrete morphing oscillators
  4. PWM, sync, FM and ring modulation
  5. Song mode
  6. 64-step sequencer
  7. 10-mode arpeggiator
  8. 12 studio-quality effects
  9. Analog drive
  10. Monophonic or 3-note paraphonic operation
  11. 256 user-editable presets
usp_key_back_mobile
  1. Power supply included. Desktop model powered by via USB or power bank
  2. USB MIDI and firmware update
  3. Programmable CV/Gate input/output
  4. Audio input to filters, FX or pass-through
  5. Balanced stereo outputs
  6. 5-pin MIDI DIN input/output and Soft Thru

Powerful presets, sequencer and arpeggiator
UNO Synth Pro offers 256 user-editable presets, each capturing the full state of the sound engine from oscillators to effects. An onboard 64-step sequencer offers both step and real-time recording, with automation of over 80 parameters, letting users create incredibly intricate and evolving soundscapes, and even write CV and gate automation.

And a 10-mode arpeggiator makes it easy to create intricate patterns and runs, while a new “chord mode” takes advantage of UNO Synth Pro’s paraphonic design, opening the door to triads and chord work.

Advanced connectivity
UNO Synth Pro offers two noiseless, balanced stereo outputs as well as headphone out, for superior audio quality in any situation. USB and 5-pin DIN MIDI In and Out make it easy to integrate with other synths, Mac/PC and mobile devices, and its assignable CV/Gate connections lets UNO Synth Pro interact effortlessly with a Eurorack or other modular system.

And now, an audio input allows access to the filter and FX section for external signals, in addition to the original pass-through for daisy-chaining multiple units together without using a mixer.

Options, pricing and availability
UNO Synth Pro and UNO Synth Pro Desktop will be arriving in Q1 2021 and are currently available for pre-order from the IK Multimedia online store and from IK authorized dealers worldwide for $/€649.99* and $/€399.99 respectively.

BIG Freq plug-in available from empirical labs

Empirical Labs announces availability of its BIG FrEQTMplug-inpartially extrapolated from its Lil FrEQ hardware


LAKE HIAWATHA, NJ, USA: having hitherto made available an earlier version for prerelease, professional audio signal processing equipment designer and manufacturer/plug-ins producer Empirical Labs Inc. (ELI) is proud to announce availability of BIG FrEQ 1.0 — the full release version of its first EQ plug-in, partially extrapolated from its much-loved Lil FreQ hardware EQ (that takes a somewhat unusual approach to the task at hand by combining most of the sound-sculpting tools an engineer needs into a compact single rack space box), but expanded upon in terms of available sections and features — as of October 14…
With no fewer than 12 powerful sections of processing to its appropriate appellation, BIG FrEQ should single-handedly handle all tonal and spectral-shaping needs for single tracks, as well as busses, including use as a versatile mastering tool. As always, ELI itself strives to bring new functionality and creative twists to plug-in EQs with its first such release, having labored long and hard over making it easy to learn and plain fun to use.
But best of all, BIG FrEQ is immensely useful, obviously, offering the ability to create modern ‘flat-top’ EQ curves with an analog workflow and added controls for more tone-shaping possibilities than a typical EQ plug-in. Put it this way: each of the six parametric bands has an additional SLOPE control that allows for flattening out the EQ shape and grabbing more frequencies equally, while switching on the focus (F) function lets users fine tune frequency adjustment — centring the selected frequency and reducing the range of the FREQ (frequency) knob — to hear exactly what frequencies are being affected with the simultaneously switchable solo (S) buttons available on each parametric band. Elsewhere, each parametric section’s GAIN knob can be expanded from ±15dB to ±30dB with the range (R) button, while parametric section settings can uniquely be copied and pasted from one to another for quickly moving and duplicating bands, facilitating faster operation. On top of that, the unique FINISHER section adds warmth to any track with organic saturation and provides for up to 8x oversampling (tested up to 768 kHz operation).
Other features are also well worth highlighting: Hi Pass and Lo Pass filters with adjustable and selectable filter orders from 6dB to 96dB (per octave); Lo Shelf — smooth bass boost or cut, centered around 120 Hz — and complimentary Hi Shelf controls; WIDTH slider — controls bandwidth or, inversely, Q; and master PHASE switch — inverts the phase of the audio.
Additionally, a modern spectral display shows cumulative EQ shape as well as colored individual bands, while the built-in preset management system (with proprietary preset format for cross-DAW preset access), smooth automation of all parameters, available direct entry for all parameters (by double-clicking on any parameter to type in a value), un-linkable stereo version for dual mono operation, and an ability to bypass any section (to monitor changes and free up processing) rounds out BIG FrEQ’s fattened features.
Following in the footsteps of ArouserTM— ELI’s first foray into the software arena as the only Distressor-derived compressor plug-in, produced by the creators of the award-winning hardware Distressor itself, BIG FrEQ is another fine example of how the professional audio signal processing equipment designer and manufacturer/plug-ins producer brings the quality of its hardware to its software products and continues to offer things that cannot be done in the hardware realm to in-the-box mixing. Making room in any plug-in collection for BIG FrEQ is to see and hear what it can do when single-handedly handling all tonal and spectral shaping needs for single tracks, as well as busses, including use as a versatile mastering tool. 

BIG FrEQ is available for purchase as an AAX-, AU-, and VST3-supporting 64-bit effect plug-in for macOS (10.7 or higher) and AAX- and VST3-supporting 64-bit effect plug-in for Windows (7 or higher) for a time-limited introductory promo price of $129.00 USD for the first 30 days — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $149.00 USD — directly from ELI’s online Shop here: https://store.empiricallabs.com/big-freq-p/bf1-rtl.htm

A fully-functional, 15-day trial of BIG FrEQ is available to download from here: http://www.empiricallabs.com/downloads/
An iLok 2 or iLok 3 USB dongle is required for activating both the demo and full versions of BIG FrEQ.
For more in-depth information, please visit ELI’s dedicated 
BIG FrEQ webpage here: http://www.empiricallabs.com/big-freq/ 

MODBAP MODULAR makes its debut with Per4mer live performance inspired effects for eurorack modular

Modbap Modular enters Eurorack market with powerful Per4mer quad performance effects module inauguration


LOS ANGELES, CA, USA: Eurorack modular synthesizers and instruments developer Modbap Modular by BeatPPL is proud to introduce Per4mer — perfectly portraying its inaugural offering as a 14HP quad performance effects Eurorack module inspired by beat-maker/DJ performance styles, and available to preorder — as of October 10…
The basic principle behind Per4mer is immediately apparent in its easy-to-follow front panel, packing a creative knockout punch in a compact (14HP) stereo effects-enabling Eurorack module form factor — feed in an audio input to then trigger on-the-fly effects, bringing DJ- style live improvisation to a modular environment. Effects can be triggered simultaneously or individually, where an inspiring effect palette combines to generate uniquely unconventional beats and melodies.
Per4mer puts a Doppler-style DELAY, lush REVERBGLITCH (beat repeat), and TAPE STOP effects easily at anyone’s fingertips for triggering via four dedicated translucent mini-arcade buttons — buttons that can be manually operated or triggered from the four external gate inputs. Each effect has a set of four effects parameters that can be controlled using the four (FX 1FX 2FX 3, and FX 4) rotary knobs or by the four CV (control voltage) inputs. COMP (compression) with SIDE CHAIN input and COLOR processing effects are also available, along with CLOCK input and TAP tempo options. Obviously, external side chain and clock can be connected to interface with other modular and electronic music gear.
Per4mer acts like a bridge between hip-hop and Eurorack.” So says Modbap Modular Designer and Founder Corry Banks. As a writer, emcee, producer, hip-hop artist (Phashara), and IT pro, he should surely know! “It packs in concepts familiar to lo-fi and beat-making circles, but it brings something fresh to Eurorack,” continues Corry Banks, before adding: “I think Per4mer will be a great entry point to modular synthesis for the modular-curious beat-maker — throw it into a small pod and use it like a standalone performance effects unit or rack it up with other modules to liven things up a bit.”
But best of all, Per4mer’s four performance effects — influencing its notable nomenclature, clearly — can be momentarily engaged or latched individually or simultaneously. Each effect has four tweak-able parameters associated with the four rotary knobs, duly designed for facilitating live improvisation with endless one-off, on-the-fly sounds and rhythmic dynamics. All audio inputs (INPUT L and INPUT R) are provided as mono connections, paired for stereo. Subsequently, Per4mer not only delivers a series of excellent effects and sound design possibilities, but it also allows the creative, classic, tried-and-tested techniques used by beat-makers and DJs to be applied to the wonderful world of Eurorack modular, especially enhanced by manual performance.
Digging deeper, the compressor allows for control over four compression (ThresholdRatioAttack, and Release) parameters via the four rotary knobs. Catering perfectly to those users craving the classic ducking sound of side chaining, the compressor also features selectable side chain detection that allows side chain activation via ‘sidechain input’, ‘audio input’, ‘clock input’, or ‘tap tempo’.
The COLOR processor features four color presets bringing texture and character to the signal path, pre effects — namely, Classic (12-bit), LoFi (8-bit), Saturation, and Wax (vinyl simulation). Such presets can be used in combination with the performance effects and compressor for a more characterful result. Reasons Corry Banks, eventually ending on a high note: “The COLOR processor is the special sauce built into Per4mer. It adds so much mojo and attitude. I lose time just enjoying processing audio through it and creating soundscapes to sample. Per4mer is a dope sound design tool as much as it is a dope performance effects module!” 

Per4mer is now available to preorder at a retail price of $399.00 USD directly from Modbap Modular’s online Shop (https://modbap.com/shop/) and expected to start shipping in November 2020.

For more in-depth information, please visit the dedicated Per4mer webpage here: http://www.modbap.com/product/per4mer/
See and hear Modbap Modular Designer and Founder Corry Banks introducing Per4mer here: https://youtu.be/UJFmw4qRMe8 

Mod Devices announce Mod duo X powerful desktop digital modular fx

BERLIN, GERMANY (August 18th, 2020) – Following a phenomenally successful Kickstarter campaign of the MOD Dwarf, funded in less than 24 hours, MOD Devices now releases the MOD Duo X audio processor to the global retail market. Its key development is the powerful Hexa-core 64 bit ARM CPU processor, a singular advantage in the audio processing landscape. The intuitively patchable standalone device sports solid user-friendly controls, including 8 new assignable potentiometer knobs, 4 freely-assignable push buttons, and 2 instant “snapshot” push buttons. The Duo X also comes with Control Voltage input and output, as well as new software features such as MIDI Slave Sync and Stereo Link. Featuring instant recall capabilities, the one of a kind box is geared towards hands-on use such as studio work, electronic music production & performance, and even DJing. 

“The MOD Duo X presents itself as the perfect audio processing hub a musician could want.  With its ability to connect to any musical equipment and its boundless internal patching capabilities, the Duo X fills a long-existing gap in the modern musicians’ rig.  

The powerful Hexa-core CPU and our ever-growing plugin universe result in a system that enables musicians to obtain practically any desired sound all with a highly durable build and pleasurable design experience.” Says Gianfranco Ceccolini, MOD Chief Executive Officer and Founder.

  • Hexa-core 64 bit ARM CPU
  • Commutable analog control inputs – 2 x Control Voltage / Expression Pedal
  • Commutable outputs – 2 x Control Voltage / Headphone
  • 2 freely-assignable rotary encoder
  • 8 freely-assignable potentiometers
  • 4 freely-assignable push-buttons
  • Controller pagination system for multiple controlling scenarios
  • 2 instant “snapshot” push-buttons for easy setting recall and alternation
  • MIDI Sync (Ableton Link compatible) in master and slave mode
  • Max compatible (any gen~ based Max tool will run on the Duo X)

The new features of the MOD Duo X include:

On August 18th, the Duo X will be made officially available globally, through international distribution and retail partners. These include Reverb, as well as the MOD Devices Webshop for the recommended price of 749.00 Euro or USD

Like the regular Duo stompbox, the MOD Duo X audio processor is made in Germany. It measures 180mm x 60mm x 160mm (W x H x D) and weighs 1.3 kg.