|Electronic Musician and Modular Synth Maestro Richard Devine Pushes the Boundaries of Live Performance and Studio Recording with Solid State Logic SiXDevine achieves ‘brutally beautiful, polished sounds’ with his modular system, along with SSL SiX mixer, 500-series Bus Compressor and E Series EQ modulesAtlanta, GA, June 2020 — Modular synthesist Richard Devine is a modern-day pioneer in the world of electronic music. As a musical artist, he has six albums under his belt and has headlined international tours; as a sound designer, he has created patches for legendary musical instrument brands such as Moog Music and Native Instruments; as a composer he has scored advertisements for Nike, Touchstone Pictures and others; and as a futurist and thought leader, he has coded his own applications in SuperCollider, a programming language for real-time audio synthesis. Recently, Solid State Logic has become an integral part of his creative workflow — both live and in the studio.|
“I was fascinated with SSL for a long time,” says Devine. “Down here in Atlanta, you go to any of the top studios and there will be SSL mixing desks. It is an industry standard and I wanted to understand why. So I invested in a few key pieces including SSL’s 500-Series format G Series Bus Compressor and a pair of E-Series (611) EQs. Once I ran my mix through the master bus, I thought, ‘Oh my God, this is the real deal.’ It just made such a huge difference.” Devine subsequently acquired a SSL SiX mixer, which features two SuperAnalogue™ recording channels equipped console grade mic pres, two-band EQ and channel dynamics, in addition to two stereo inputs, inserts and 100mm faders and a two knob version of the legendary SSL Bus Compressor. After trying SiX in the studio, he took it out on the road and never looked back: “I’m now using it for all my live shows,” he states. “The main thing that I noticed immediately is that you can feed the SiX a super-hot signal and it just eats it up — there is a massive amount of headroom. Now my entire modular rig hits the SiX as its last stop before I hit the PA.” Love at first patch
In the studio, Devine’s Eurorack-based modular system consists of several ‘floater’ cases he uses to help him navigate through the different parts of each composition, before ultimately going through the SSL SiX. “Generally, I like to start with rhythms and tempos with sequencers, and then I move to more tonal based modules using oscillators and envelopes. And then I have racks that are just effects. I link all these cases together so they share the same clock — between five and seven cases — and play the entire patch, working my way through each ‘movement’ in my composition.Devine used to compose directly in the DAW, but he says working directly in his modular system was more conducive to his creative output. “It felt natural and organic compared to how I was used to working in a DAW on a timeline. When you are working with the modular, the system is always running. You are deciding in real time when things are going to change, when things are going to get less complex or more subtle. This way of working is based on emotion and on what you are hearing and seeing. Working in the DAW you are getting a lot of visual feedback, but with modular, I feel like I am using my ears and responding to the music more.” SSL G Series compressor and E Series EQ: The dynamic duo
When multi-tracking, Devine will send up to 32 outputs from his system via nw2s I/O modules which are connected by four DB 25 snakes. These are then sent into a pair of 16 channel interfaces before hitting the DAW, whose primary function is as a ‘tape machine.’ Drums and sequences are often the foundational element in Devine’s compositions — these are all sub-mixed together before finding their way through a pair of 500-series format SSL E-Series (611) EQs: “I use the E Series EQs to shape the dynamics for all my drums. They impart an expensive hi-fi sound that I like — completely different from a 1073. They are good for snares and midrangey stuff that I want to poke through the mix a bit more. I also use them to reshape my kick drums and bring out the transients.”Along with the E Series EQ, Devine had been using his G Series Bus Compressor across the drum bus. More recently however, the G Series compressor has been promoted to handling final mix duties across the master bus: “I use it a lot for drum buss processing — particularly on kick and snare. But lately I’ve been using it as the final ‘polish’ of my master output, because it just does such a nice job. I prefer the SSL for ‘my sound’ over other compressors – I’ve done shoot outs with all of them and the SSL just works better for my music.” Devine describes the G Series compressor as imparting a ‘final polishing’ effect: “Everything I put through this compressor just has this very beautiful rounded weight to it, but is also very direct and forward. It is a brilliant design and I can see why countless hit records have used this compressor at the final end game.” Richard Devine and ‘Days of future patched’
Despite having achieved fame in the modular world as a futurist and thought leader, Devine considers himself a student: “I always tell people I am just a student in a class, constantly learning new things all the time, and I still feel that way today.” Devine’s most recent extra-curricular learnings include live coding, programming and AI: “The live coding thing is really interesting to be because there are no rules. You can create what I call these impossible scenarios that would be really difficult to do with a conventional DAW or Eurorack system. At the same time, I’ve been researching AI generative machine learning systems that develop and make sound. You tell the machine learning algorithm ‘Hey, these are my favorite eight patches,’ and it will analyze these and give you more than 1024 new variations based on the ones you picked. Then you can trajectory map over these regions and snapshot them.
It’s a great way to create new sounds to generate new content as a sound designer.”Summing up his experience with the SSL SiX, Devine says that the SiX has been one of the best investments he’s made in the last year. “It’s crazy how well engineered SSL’s equipment is, and the SiX is now my permanent live mixer. It has been a revelation for me.”
Flock Audio propagates PATCH digitally-controlled, 100%-analog patch bay routing system selection with LT and XT hardware
KELOWNA, BC, CANADA: having revolutionized recording studio setups worldwide with its innovative PATCH system’s killer combination of (PATCH APP) software and 64-point connection-providing (PATCH) hardware working together in perfect harmony as the world’s most advanced digitally-controlled, 100%-analog patch bay routing system allowing anyone to easily control analog audio routings without having to resort to the use of manual patch cables, pro audio manufacturer Flock Audio is proud to introduce its (impending) PATCH LT and PATCH XT hardware releases — respectively representing ‘light’ (condensed) and ‘extra’ (expanded) selections anchored around the same award- winning architecture as the original, offering reduced and increased I/O count — at The 2020 NAMM Show, January 16-19, Anaheim, CA, USA…
Revolutionary as it incontrovertibly was when turning heads and opening musical minds with a show-stopping showcase at The 2019 NAMM Show, subsequently being adopted by hundreds of audio engineers worldwide with workflows benefitting from a design that just makes sense, today the original PATCH hardware remains revolutionary, beautifully built but simple and sleek in operation. On the face of it, becoming the hub of any studio setup is at its creative core, thanks to 64-point (32-input/32-output) connections via eight standard 25-pin D-SUB connectors allowing analog routing control courtesy of the accompanying MacOS- and Windows-compatible PATCH APP routing software, so users can create, store, and recall complex routings in seconds as well as create complex multing combinations with no impedance issues and no AD/DA conversion with a 100%-analog signal path using Flock Audio’s patented Matrix Technology. Simply speaking, the USB 2.0-equipped hardware works with the software in perfect harmony. Furthermore, Flock Audio sensibly saw fit to also include 32 independent channels of 48V phantom power — and allows or denies the ability to enable 48V on any input connected to the PATCH system, so accidental damage to any costly microphone investment is thankfully avoidable. Additionally, two front panel-positioned TRS/XLR Combo inputs and two XLR outputs for quick hardware, microphone, or instrument integration into the routing system are always available — and all without having to unplug anything already connected to the rear of the rack-mounted unit itself. Moreover, multiple PATCH expansion is perfectly possible for those needing more connections.
Conversely, perhaps, PATCH’s 64-point connection capability could conceivably be deemed overpriced overkill for those whose studio setups are a little lighter on the analog audio hardware front. Fortunately, Flock Audio always aims to accommodate, as evidenced by the timely introduction of its (impending) PATCH LT hardware at The 2020 NAMM Show. Small but mighty sums up PATCH’s perfectly-formed simple, sleek, and spectacular sibling, with just enough I/O to create a musical masterpiece. This time, however, Flock Audio allows access to the analog routing matrix of anyone’s dreams as a 32- point (16-input/16-output) connections-adorned affair featuring four standard 25-pin D-SUB connectors, 16 independent channels of 48V phantom power, and one front panel-positioned TRS/XLR Combo input and one XLR output. Out of sight, out of mind, the same reliable connections that seriously cemented PATCH’s recording reputation so speedily are also built into PATCH LT. Indeed, it includes the same external five-pin 24V DC power supply with IEC cable and 10-foot USB 2.0 (USB-A to USB-B) cable. Conveniently, it also works with the same PATCH APP routing software — relatively recently upgraded to instantly identify the connected PATCH hardware model, meaning quick creation, storage, and recall of complex routings as well as creating complex multing combinations with no impedance issues and no AD/DA conversion with a 100%-analog signal path using Flock Audio’s patented Matrix Technology remains the same. Should that smaller studio setup grow, then multiple unit expansion with any PATCH model is perfectly possible, so no need (necessarily) to trade up!
Ultimately, of course, more serious studio setups more often than not have more serious patch bay routing requirements. Really representing everything that is great about PATCH… expanded, PATCH XT packs 192-point (96-input/96-output) connections via 24 standard 25-pin D-SUB connectors into a 3U eye-catching casing that means business but also acts as a reminder that analog routing need not be be the ugly part of audio production! Put it this way: with 96 independent channels of 48V phantom power, lockable USB 2.0 connector with included 10-foot USB 2.0 (USB-A to USB-B) cable, more room to house an internal power supply with included IEC cable, cooling-without-compromise redesigned airflow, and (optional) CAT5 Ethernet host control for bridging longer distances between the hardware unit itself and the PATCH APP routing software host, PATCH XT is extra extraordinary! And as if this is not enough to keep the most serious studio owner seriously satisfied with Flock Audio’s ultimate development of the world’s most advanced digitally- controlled, 100%-analog patch bay routing system allowing anyone to easily control analog audio routings without having to resort to the use of manual patch cables, multiple unit expansion with any PATCH model is also available.
As company founder and Flock Audio CEO Darren Nakonechny notes: “We believe every audio engineer, whether developing their craft in the basement or award-winning professional studio, deserves superior recording tools.” Thanks to the timely introduction of PATCH LT and PATCH XT at The 2020 NAMM Show — uniting over 115,000 registrants from 130 countries and regions at the global crossroads of music, sound, and entertainment technology, the trailblazing Canadian pro audio manufacturer has taken two selective steps towards making that happen for even more audio engineers worldwide with workflows benefitting from ‘light’ (condensed) and ‘extra’ (expanded) designs that make more sense than ever!
PATCH LT is scheduled to ship in Summer 2020 with an MSRP (Manufacturer’s Suggested Retail Price) of $1,499.00 USD — pricing subject to change without notice — through Flock Audio’s growing global network of authorized dealers (https://www.flockaudio.com/dealers) or online directly from Flock Audio itself (https://www.flockaudio.com/buynow).
For more in-depth information, please visit the dedicated PATCH LT webpage here: https://www.flockaudio.com/patchlt
PATCH XT is scheduled to ship in Winter 2020 with an MSRP of $9,999.00 USD — pricing subject to change without notice — through Flock Audio’s growing global network of authorized dealers (https://www.flockaudio.com/dealers)
or online directly from Flock Audio itself (https://www.flockaudio.com/buynow).
For more in-depth information, please visit the dedicated PATCH XT webpage here: https://www.flockaudio.com/patchxt
Brad from Isla Instruments had a live stream today detailing how the filters in the new sp2400 sampler will work.
check the video below.
- Sp2400 will have a stereo version of the original fixed analog Input filter.
- the input filter can also be accessed during “resampling” mode allowing you to send samples from the SD card back through the input stage to apply this analog filtered sound to your preexisting sound library.
- the output filters follow the layout of the original sp1200 machine in that there are 4 fixed output (non-sweepable) analog filters.
- the “tip/ring” filter trick is handled via onboard analog logic circuit that allows you to get this sound without having to actually “half plug” the jack to access that sound.
- there are 2 Dynamic SSI Analog filters.
- in addition to the analog filters there are also digital filters per output that are fully dynamic.
- there is support for future daughter board add ons that allow for 8 additional fully controllable filter.
- daughter board add ons in the future : there are plans for SSI filter , Curtis filters, as well as open sourcing of the schematics so that 3rd party can release additional filter styles.
- the daughter board add ons do not need to be limited to just analog filters, they could be digital or hybrid filter boards (this would be up to the 3rd part.).
The Sp2400 is available for preorder direct from Isla Instruments https://www.islainstruments.com/product/sp-2400/
Radikal Technologies takes DELTA CEP A paraphonic semi-modular synth several steps further forward with free firmware updates
MÜNCHEN, GERMANY: cutting-edge sound specialist Radikal Technologies is proud to announce availability of the latest (Version 1.6e) firmware update for its illustrious DELTA CEP A paraphonic semi-modular synthesizer — serving up nine essential synthesis ‘modules’ melded together to form a potent yet straightforward starting point to the ever-widening world of the Eurorack small-format modular system — that builds upon its impressive feature set with several significant additions, free for existing owners…
Its introduction earlier this year to widespread critical acclaim saw Radikal Technologies’ DELTA CEP A living up to the PARAPHONIC-MODULAR wording boldly blazoned across its feature-packed front panel. Pushing its cutting-edge sound-specialising creator’s product lineup to the forefront of the ever-widening world of the Eurorack small-format modular system, the deftly-designed DELTA CEP A can function as a standalone synthesizer or — when removed from the chassis — a 68HP-occupying Eurorack module forming the centre of a powerful modular voice. Whichever way it is brought into play — purchasable as a desktop paraphonic semi-modular synthesizer or Eurorack paraphonic semi- modular synthesizer module, the DELTA CEP A is the perfect starting point for any modular user.
Today, the DELTA CEP A paraphonic semi-modular synthesizer represents an even more potent force in the ever-widening world of the Eurorack small-format modular system, thanks to extensive firmware updates, culminating in Version 1.6e, that build upon its impressive feature set with several significant additions, as follows.
Firstly, Radikal Technologies has helpfully seen fit to expand the DELTA CEP A’s already powerful FX section above and beyond the giveaway (FX: 1. TAPE 2. DELAY 3. CHORUS 4. PHASER 5. FLANGER) wording highlighted on that feature-packed front panel to additionally include a stereo reverb algorithm. As such, it is now perfectly possible to add stereo reverb to those tape, delay, or chorus effects, for instance. It is also perfectly possible to morph those new reverb parameters as well with the INTERPOLATOR section — certainly separates the DELTA CEP A from the Eurorack pack! Put it this way: with this sound-stimulating section, users are afforded an ability to store so-called ‘snapshots’ of sound creations into the DELTA CEP A’s internal memory; moreover, users can consequently play those snapshots sequentially, creating cool sonic sequences. Saying that, they can cleverly create smooth transitions from one snapshot to another, allowing for some stunning sound morphing effects!
Excitingly, the LFO 1 section can now be assigned to different modulation targets without having to use any patch cables; creatively, this allows for assigning the LFO (Low Frequency Oscillator) modulation to multiple targets simultaneously with independent modulation depths for all targets. That said, the ADSR section’s envelope generator can also now be assigned to different modulation targets without having to use any patch cables; creatively, multiple targets can be simultaneously controlled with independent modulation depths. Deeper still, the INTERPOLATOR section’s already powerful morphing function also benefits from those new routing capabilities since internal routings can be morphed! Musically- and sonically-speaking, users can now explore a whole new dimension of dynamic soundscapes.
So, having installed its latest firmware updates, how do discerning DELTA CEP A users access those welcomed additional parameters? Pressing the SHIFT button locks the SHIFT function to more easily enable additional parameters; its associated LED (Light Emitting Diode) flashes until theSHIFT function is unlocked again (by pressing the SHIFT button again).
Additionally, the MOD input in the MIXER section now controls the volume and saturation of the SWARM OSC signal; speaking of inputs, the SYNC input in the LFO 1 section now performs perfectly and allows for synchronising the LFO to another LFO or the GATE signals. (Holding theSHIFT button allows access to the note values of the LFO with the SPEED knob.)
Needless to say, the DELTA CEP A now reacts to MIDI (Musical Instrument Digital Interface) program changes, but be careful; if it receives a program change while the user is editing a sound, any changes to the sound will be lost.
Last, but by no means least, thanks to the latest (Version 1.6e) firmware update, it is now possible to share presets directly between two DELTA CEP A paraphonic semi-modular synthesizers. So what else can Radikal Technologies say? Not much — other than concluding that its illustrious DELTA CEP A has taken several significant steps further forward, courtesy of a rigorous regime of firmware updates. Ultimately, then, the DELTA CEP A ships with the latest firmware, which existing users of course can access and install for free.
The DELTA CEP A is available for purchase — priced at an RRP of €899.00 EUR/$999.00 USD (Eurorack) and €1,198.00 EUR/$1,298.00 USD (desktop) — through Radikal Technologies’ growing global network of authorised dealers.
For more in-depth information and access to the latest firmware updates, please visit the dedicated DELTA CEP A webpage here: https://www.radikaltechnologies.com/delta-cep-a-2/ (Existing DELTA CEP A owners can download the latest firmware updates for free.)
Watch Radikal Technologies Product Designer Jörg Schaaf’s sonically-stimulating DELTA CEP A video playlist here:https://www.youtube.com/watch?v=_YkvgTVZQ3E&list=PLysQPMsmJseFLtTQxGL9tJROrferQtfLs
Doepfer dives deeper into industry-standard Eurorack small-format modular system with quirky quintet of polyphonic modules
GRAEFELFING, GERMANY: having made musical waves during a show-stopping showcase of prototypes closer to home at SUPERBOOTH18 in Berlin, Germany, esteemed electronic musical device designer Doepfer is proud to globally announce availability of its A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface — a quirky quintet of polyphonic modules that sees the trailblazing company diving deeper into the now-industry-standard Eurorack small-format modular system standard that it initiated and popularised with its ever-expanding A-100 ANALOG MODULAR SYSTEM — as of March 1…
Who better to throw light on the thinking behind this quirky quintet than company CEO Dieter Doepfer himself. “Modular synthesizers are almost exclusively monophonic structures since true polyphonic patches require a lot of modules — at least four VCOs, four VCFs, four VCAs, and eight ADSRs for a ‘classic’ four-voice patch,” he begins. “But even then it’s difficult to control filter resonance or modulation depth of all the filters, for example, or the attack and decay time of all the envelope generators simultaneously. So now it’s possible to integrate these functions into the modular synth world with our polyphonic modules, though the idea is not just to recreate a standard polyphonic synth within the modular system but rather realise new polyphonic structures that go far beyond a standard polyphonic synth and also far beyond the typical monophonic structures of a modular system since they still offer access to all parameters via CV or gate.”
Getting going, then,
the A-111-4 Quad VCO module features four precision CEM3340-based — triangle core — VCOs (Voltage Controlled Oscillators), each with its own separate internal +/- power supply (to ensure stability and prevent unwanted VCO synchronisation). Each VCO has the same individual controls, and inputs/outputs, as follows: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; Mod. (modulation) CV In (Control Voltage input); Modulation Destination — upper position equals exponential frequency modulation (XM) and lower position equals linear frequency modulation (LM) or pulse-width modulation of the rectangle waveform (PM), selectable via internal jumper; frequency modulation (FM) or pulse- width modulation (PWM) of the rectangle waveform; Mod. Level (modulation intensity); triangle waveform output; sawtooth waveform output; rectangle waveform output — about 50% without external pulse-width modulation; SYC (sync) input — (CEM3340-type) hard or soft sync selectable via internal jumper; and minimum 10 octaves range (with appropriate external control voltage). Continuing further down its familiar (silver-grey) front panel, a Master section for all four VCOs includes the following controls and inputs/outputs: 1V/Octave CV In (Control Voltage input); +1 / 0 / -1 Octave switch; Tune control, with ~ 2 semitones / ~ 1 octave / ~ 4 octaves range selectable via internal jumpers; exponential frequency modulation (XM) CV In (Control Voltage input); triangle waveform sum output; sawtooth waveform sum output; and rectangle waveform sum output. Typical applications include: fat-sounding monophonic VCO with the ability to adjust any intervals; paraphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and all four VCOs being processed by one VCF/VCA section; fully polyphonic patches — when working in combination with the A-190-5 Polyphonic USB/Midi to CV/Gate Interface and four complete VCF/VCA sections; complex VCO patches with up to four VCOs by means of the — exponential and linear — frequency modulation features and sync functions.
Following in (traditional subtractive synthesis) sequence, the A-105-4 Quad Poly SSI VCF module is Doepfer’s first polyphonic filter, featuring four identical 24dB lowpass (SSM2044-type) filters. The module itself includes the following controls and inputs/outputs: F (frequency); FM (frequency modulation) intensity; Q (resonance); audio input L (level); CVF (control voltage frequency) attenuator; CVFM (control voltage frequency modulation) attenuator; CVQ (control voltage resonance) attenuator; CVL (control voltage level) attenuator; CVF (control voltage frequency) socket; CVFM (control voltage frequency modulation) socket; CVQ (control voltage resonance) socket; CVL (control voltage level) socket; FM (frequency modulation) 1 – 4 sockets; audio In (input) 1 – 4 sockets; and audio Out (output) 1 – 4 sockets, so each filter features a separate FM input as well as an audio input and output. The FM input is typically connected to the output of the associated envelope generator, such as Doepfer’s A-141-4 Quad Poly VCADSR, while the envelope amount for all four filters is controlled by the FM knob and the CVFM input by four built-in VCAs, which are also controlled by the FM control and CVFM input to also allow voltage control of the envelope amounts. Additionally, it is also possible to apply frequency modulation to all four filters — for example, using an LFO (Low Frequency Oscillator) patched into the CVF socket and using the associated (CVF) attenuator. The range of the audio input level (L) control also allows clipping/ distortion with typical A-100 ANALOG MODULAR SYSTEM audio levels — from, for example, the A-141-4 Quad Poly VCADSR module — at the filter inputs. This parameter is also voltage controllable, as is the resonance (Q). Applications include polyphonic patches requiring four VCFs with the same parameters.
Perfectly named, the A-132-8 Octal Poly VCA module is an octal VCA (Voltage Controlled Amplifier), primarily primed for polyphonic applications. As such, it includes four pairs of VCAs — each pair including two daisy-chained VCAs, with one VCA having a linear control scale and the other a linear or exponential control scale, selectable via internal jumpers. Two VCAs are provided for each voice since one VCA is usually required for the loudness envelope and another for velocity (or other functions like individual voltage-controlled loudness of each voice, amplitude modulation, and so on). All VCAs are DC coupled and can be used in specialised applications and also for processing control voltages. The module features two Default Gain controls — GL and GX — that enable opening of the first four VCAs (L) and/or second four VCAs (X), with GL and GX generating two internal (0 – +10V) control voltages which are connected to the switching contacts of the 1L – 4L sockets (controlling GL) and 1X – 4X sockets (controlling GX). If no patch cable is inserted into the socket in question then the internal default (GL or GX) control voltage is used to control the corresponding VCA. This is necessary when the VCA in question is not in use — when no external control voltage is available, for instance, otherwise the VCA would close and there would be no output signal even if the other VCA in the chain is open. On the other hand, as soon as a patch cable is inserted into one of the CV Inputs then the corresponding internal default control voltage — CL or CX knob — is no longer used to control the VCA in question; rather an external control voltage patched to the CV Inputs now controls the level of the VCA in question. The GL and GX controls are also useful for testing polyphonic patches — tuning VCOs, for example.
Again, as implied by name,
the A-141-4 Quad Poly VCADSR module is a quad voltage-controlled envelope generator — again, primarily primed for polyphonic applications. As such, it features four ADSR-type voltage-controlled envelope generators with exponential curve shapes (charge/discharge curves of a capacitor). Common manual controls and CVA, CVD, CVS, and CVR inputs with corresponding polarizers are available for the attack (A), decay (D), sustain (S), and release (R) parameters. All four envelope generators have a gate input (G1 – G4), a control LED, and an envelope output (Out1 – Out4). Applications include polyphonic patches, such as four envelope generators with the same envelope parameters to control four VCFs, VCAs, or other modules.
Last, but by no means least, by providing four voices with a 1V/octave-standard CV Note (pitch control voltage) to control VCOs and a Gate output (to control envelope generators), alongside two additional (CV2 and CV3) control voltages, the appropriately-named
A-190-5 Polyphonic USB/Midi to CV/Gate Interface module does what it says on the tin. Those two additional control voltage outputs can be controlled by MIDI velocity, volume, modulation, pitch bend, aftertouch, or freely-assignable MIDI controllers. Multiple — four-voice monophonic (to control four monophonic voices by four successive MIDI channels); four-voice polyphonic (to control four monophonic voices by one MIDI channel) with several (rotating/non-rotating) sub-modes; two-voice polyphonic (to control two monophonic voices by one MIDI channel); and unison — modes are selected by switches with the result shown in the LCD. In play mode, for example, the LEDs of the first four switches display the gate states, while certain parameters of each mode can be edited.
Ending on a high note, Dieter Doepfer deduces, “Modular synthesizers will still be predominantly used for monophonic sounds, as I’m well aware, but at least one polyphonic sound appears in many pieces of music and now it’s possible to integrate this into the modular synth world with our polyphonic modules.”
Within Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can be ordered online from Doepfer directly (http://www.doepfer.de/form_e.htm) or via one of its German dealers (https://docs.doepfer.eu/en/dealer-germany/) for €400.00 EUR, €200.00 EUR, €160.00 EUR, €160.00 EUR, and €300.00 EUR, respectively.
Outside of Germany, the A-111-4 Quad VCO, A-105-4 Quad Poly SSI VCF, A-132-8 Octal Poly VCA, A-141-4 Quad Poly VCADSR, and A-190-5 Polyphonic USB/Midi to CV/Gate Interface modules can only be ordered from Doepfer dealers in the territories listed here: https://docs.doepfer.eu/en/ (Note that residents in countries without representation can, however, order from Doepfer directly.)
For more in-depth information, please visit the dedicated A-111-4 Quad VCO webpage here: http://www.doepfer.de/A1114.htm
For more in-depth information, please visit the dedicated A-105-4 Quad Poly SSI VCF webpage here: http://www.doepfer.de/a1054.htm
For more in-depth information, please visit the dedicated A-132-8 Octal Poly VCA webpage here: http://www.doepfer.de/a1328.htm
For more in-depth information, please visit the dedicated A-141-4 Quad Poly VCADSR webpage here: http://www.doepfer.de/a1414.htm
For more in-depth info, please visit the dedicated A-190-5 Polyphonic USB/Midi to CV/Gate Interface webpage here: http://www.doepfer.de/a1905.htm
VOGTLAND, GERMANY: electronic sound tools creator VERMONA is proud to announce availability of the quadroPOL polarizing mixer / ringmodulator — a four-channel polarizer module for the popular Eurorack small-format modular system, capable of attenuating any incoming signal, in-phase or out of phase, plus providing additional functionality for further flexibility — as of August 25…
Eurorack has been nicknamed ‘Eurocrack’… and for good reason. It’s certainly addictive! As any enlightened Eurorack small-format modular system user would surely say: you can never have enough modules that influence levels, be that for audio signals or control voltages. VERMONA’s quadroPOL polarizing mixer / ringmodulator helps fill that void — or, indeed, any empty Eurorack rack-space (assuming that potential purchasers have 10 HP to spare in their system) — as a four-channel polarizer module, capable of attenuating any incoming signal, in-phase or out of phase. Putting it ahead of the Eurorack pack, the way that each of those four channels work is one of its most distinguishing features. Fortunately, instead of only having one dedicated zero-point, it has a ‘dead-zone’ where the input signal will be completely suppressed, so users can easily locate the off position — even without a centre-click — while simultaneously being able to create extremely sensitive level increases.
Further flexibility abounds as the quadroPOL polarizing mixer / ringmodulator realises a number of other outstanding features. Firstly, any channel’s OUTPUT signal is optionally forwarded to the next one, allowing the quadroPOL polarizing mixer / ringmodulator to be used as a mixer module, as implied by its full appellation; as such, users can sum up to four signals. Secondly, the quadroPOL polarizing mixer / ringmodulator can also be controlled via control voltages, with each channel boasting a CV IN alongside its INPUT; so, setting the level manually apart, users can also use each channel as a VCA (Voltage-Controlled Amplifier)… and — Eurorack being ‘Eurocrack’ — you can never have enough VCAs in a modular system, now, can you? Yet more functionality comes courtesy of the fact that the quadroPOL polarizing mixer / ringmodulator has one four-quadrant multiplier per channel, allowing the module to also act as a ring modulator without any compromises — in fact, four ring modulators!
Mind the (10 HP-wide) gap. As flexible as it is functional, then, owners of any Eurorack small-format modular system should surely consider adding a quadroPOL polarizing mixer / ringmodulator to their setup. After all, once you’ve got your hands on one, it’s hard to live without it. Indeed, once you’ve got your hands on one, you might need to satisfy your addiction with another!
Shipping now, the quadroPOL polarizing mixer / ringmodulator is available to purchase through VERMONA’s growing global network of dealers (http://www.vermona.com/en/dealer/) with an RRP of €269.00 EUR (Europe) and $309.00 USD (USA).
For more in-depth information, please visit the dedicated quadroPOL polarizing mixer / ringmodulator webpage here: http://www.vermona.com/en/products/modules/product/quadropol/
Ampeg SVX 2 for AmpliTube – Mac and PC
Ampeg SVX 2 for AmpliTube brings more power to bass players and music producers, giving them the opportunity to expand their collection with 2 amplifiers and 2 cabinets from the Ampeg Classic series: the SVT-VR and V-4B amplifiers along with the SVT-810AV and SVT-212AV cabinets. Also included from the Ampeg Heritage series is the highly sought-after B-15N amp and its matching cabinet, the B-15N 115. Ampeg SVX 2 provides the genuine tone, dynamics and feel of these iconic amps thanks to IK’s industry-leading modeling technologies. Dynamic Interaction Modeling™ not only recreates every individual physical component in the amplifier’s design, but also the nonlinear behavior between each component and its interaction with other components in the circuit. This provides an unprecedented level of realism, touch and feel for each amp.
Ampeg SVX 2 for AmpliTube recreates the sound that defined electric bass in virtual form. IK software engineers worked painstakingly with the Ampeg engineering team to ensure that each amplifier and cabinet model has been created with the same attention to detail and authenticity that goes into their physical counterparts. The amplifiers and cabinets available in Ampeg SVX 2 for AmpliTube include:
The Ampeg SVT-VR is a vintage reissue of an early 1970’s “Blue-Line” SVT head. The preamp stage, power section, and even rocker switches emulate the exact signal path, tone, and vibe of this original rock ‘n’ roll workhorse giving all the growl one might ever need.
The Ampeg V-4B 100W all-tube bass amplifier is a remarkable reissue of the legendary 1971 original, delivering the pure tube vintage sound, attitude and unmistakable grind that earned this classic amp a place in bass history.
The Heritage B-15N amplifier features distinct switchable 1964 and 1966 channels with Ampeg’s flexible Baxandall type bass and treble EQ controls along with selectable cathode or fixed bias providing the ultimate control over response and tone. The Heritage B-15N meticulously recreates the world’s most recorded bass tone.
Powerful, tight and focused bass sound. This is the classic Ampeg cabinet seen on stages worldwide. The Infinite Baffle™ design has stayed the same since 1969 and delivers the punchy, round sound that is the hallmark of Ampeg tone.
The Ampeg SVT-212AV cabinet delivers pure Ampeg tone in a ported cabinet design, featuring 2×12″ custom LF drivers and a 1″ compression driver, with a 3-way level control, that bridges the gap between fast transient response and a rich, powerful low end.
The perfect companion to the B-15N. This cabinet features a 15″ speaker that delivers pure, full-bodied and vintage-sounding tone, reminiscent of the good old ’60s, that suits a wide array of musical genres.
Plug-in and play out
Ampeg SVX 2 for AmpliTube works perfectly with IK’s iRig line of mobile digital interfaces, like the iRig HD 2 or the iRig Pro I/O, to record and process bass tones on the go and on stage with the best-sounding virtual amps and effects ever created. Because Ampeg SVX 2 runs from within AmpliTube for Mac/PC, it offers a full-rig signal path ready to use in any production: tuner, pedalboards, amp head preamp, effects loop, power amp, speaker cabs, mics with room effects, and rack effects. Plus, two complete rigs can be configured and run in stereo.
Pricing and Availability
Ampeg SVX 2 for AmpliTube is available now for $/€99.99* from the IK Multimedia website, the AmpliTube Custom Shop and participating IK retailers. Ampeg SVX 2 for AmpliTube is also available to currently registered Ampeg SVX users for the upgrade price of $/€49.99. Individual amps are available for $/€34.99 each and cabs for $/€14.99 each via the AmpliTube Custom Shop.
*All prices excluding taxes
For more information, please visit:
For video of Ampeg SVX 2, please visit:
Plugin Alliance, a new ‘Über-standard’ 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 SPL’s Attacker Plus, De-Verb Plus, and Mo-Verb Plus — new and improved versions of three must-have Microplugs created by founding Plugin Alliance development partner Brainworx in close collaboration with SPL, respected worldwide for its innovative and user-friendly approach to developing and manufacturing analog and digital audio gear for the music, film, multimedia, and broadcasting industries since 1984 — as of March 13…
The Attacker Plus Microplug presents part of the same stunning envelope shaping supplied by SPL’s treasured Transient Designer hardware, hitting a home run with software aficionados by replicating the edge and punch provided by the original unit’s ATTACK knob. Indeed, it uses the same so-called Differential Envelope Technology that revolutionized dynamic processing with its level-independent methodology. More meaningfully, though its ATTACK knob lets users dial in all the transient punch needed, Attacker Plus also sports soft peak limiting (LIMIT) access and a DRY/WET control, affording total flexibility across a wide range of material with worry-free workflow in the digital world. With over a decade of hardware modelling experience, Brainworx bestowed a core algorithm upon Attacker Plus that more closely matches the behavior of the original Transient Designer hardware than ever before. Better still, working with Attacker Plus could not be simpler — all attack events can be amplified regardless of signal level, yet such simplicity does not prevent seemingly endless possibilities for studio and live applications. Attacker Plus amplifies just the attack curves of a sound event by focusing on the initial transient instead of specific frequencies to allow instruments to be mixed at lower levels, which, in turn, opens up space in the mix while preserving the relationship between tracks, for example; emphasize the attack of a kick drum or loop to increase power and presence in the mix; adjust apparent ‘distance’ of a microphone by varying the ATTACK values; increase the attack of guitar sounds for in-your-face tone-shaping — anything and everything is possible (within reason)!
Thanks to that same Differential Envelope Technology, the De-Verb Plus Microplug also serves up part of the same stunning envelope shaping supplied by SPL’s treasured Transient Designer hardware in software. It reproduces the attenuation provided by the original SUSTAIN knob — albeit now helpfully labelled as REVERB REDUCTION on the Microplug itself — to reduce or even eliminate the decay of a sound. Similarly sporting soft peak limiting (LIMIT) access and a DRY/WET control, it also allows total flexibility across a wide range of material with worry-free workflow in the digital world. Working with De-Verb Plus is, likewise, disarmingly simple — reverb events can be reduced, regardless of signal level, translating to endless possibilities for studio and live applications! Any sound event’s decay curve can simply be reduced by turning that REVERB REDUCTION knob. De-Verb Plus also offers an OUTPUT GAIN control that allows compensation for level changes after processing the signal — just like Attacker Plus. Combined with the peak limiter (LIMIT) and DRY/WET controls, this ensures simple and safe adjustment of levels while avoiding internal clipping and shaping the decay characteristics of material. Musically shorten the sustain period of a snare; reduce tom-tom ring without resorting to physically dampening; adjust apparent ‘distance’ of a microphone by varying the REVERB REDUCTION values… De-Verb Plus perfectly encapsulates an alternative to noise gates — compared to fixed release times, the decay period is more musically shortened, so significantly freeing a drum kit from unwanted room information within seconds!
Similarly, the Mo-Verb Plus Microplug perfectly zeros in on another aspect of the Transient Designer’s distinctive envelope shaping, this time replicating the boost provided by the hardware’s SUSTAIN knob that extends the decay of sounds as a self-explanatory REVERB ENHANCEMENT control, allowing all reverb events to be amplified — again, regardless of signal level. Translating to endless possibilities for studio and live applications, decay curves of any sound event can be emphasized by simply turning the knob in question! Mo-Verb Plus also offers an OUTPUT GAIN control that allows compensation for level changes after processing the signal, which — when combined with the peak limiter (LIMIT) and DRY/WET controls — secures simple and safe adjustment of levels while avoiding internal clipping when shaping the decay characteristics of material. Many effects — such as drawing out the sustain period of a snare to get the tone and grit upfront in the mix or letting every note of a guitar riff ‘sing’ to its heart’s content — would take considerable programming skill when using a typical compressor, but Mo-Verb Plus handles everything easily with only one knob… just like its new and improved Attacker Plus and De-Verb Plus siblings!
Attacker Plus ($99.00 USD), De-Verb Plus ($79.00 USD), and Mo-Verb Plus ($79.00 USD) are available for purchase — as a AAX DSP-, AAX Native-, AU-, VST2-, and VST3-supporting Microplugs for Mac OS X (10.8 through 10.12), Windows (7 through 10), and Pro Tools 10.3.10 (or higher) — from Plugin Alliance and select VSSD (Virtual Stock Software Distribution) retailers. (Note that individual Microplug promotional pricing of $29.00 USD is available to owners of legacy Attacker, De-Verb, and Mo-Verb.)
For more in-depth info, including several superb-sounding audio demos, please visit the Microplugs’ respective dedicated webpages here:
The new and improved Attacker Plus, De-Verb Plus, and Mo-Verb Plus Microplugs can be seen and heard in this trailer video: https://youtu.be/NqV3qqACE1Q