VERMONA ups Eurorack attenuation ante with flexible four-channel quadroPOL polarizing mixer / ringmodulator

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/

IK MultiMedia Ampeg SVX 2 for amplitude released

IK Multimedia and Ampeg release
Ampeg SVX 2 for AmpliTube – Mac and PC

Ampeg SVX 2 for AmpliTube offers bass players and producers a collection of iconic bass amplifiers and cabinets from the Heritage and Classic series
September 5, 2017 – IK Multimedia is pleased to announce the immediate release of Ampeg® SVX 2 for AmpliTube, a new collection that brings some of the most sought-after and iconic bass amplifiers and cabinets from the Ampeg Heritage and Classic series to AmpliTube for Mac® and PC.

Ampeg SVX 2 for AmpliTube

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 - Amps and cabs

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:

SVT-VR
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.

V-4B
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.

B-15N
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.

SVT-810AV
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.

SVT-212AV
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.

B-15N 115
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:
www.ampegsvx.com/svx2

For video of Ampeg SVX 2, please visit:
www.ampegsvx.com/svx2/video

Plugin Alliance advances several SPL Microplugs with new and improved Plus versions

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:

https://www.plugin-alliance.com/en/products/spl_attacker_plus.html

https://www.plugin-alliance.com/en/products/spl_de-verb_plus.html

https://www.plugin-alliance.com/en/products/spl_mo-verb_plus.html

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

 

Arturia to Announce unveil new Audio interface soon!

Arturia announces upcoming unveiling of next-generation audio interface

audio interface

GRENOBLE, FRANCE: music software and hardware developer Arturia is proud to announce that it will be boldly stepping into a new market sector for the cutting-edge company when unveiling the next-generation audio interface in 2015…

Arturia President Frédéric Brun bowled over an audience of invited industry insiders and VIP guests when making the astounding announcement during his captivating keynote speech at the Museum of Grenoble as part of the company’s 15th anniversary celebrations on October 3, 2014. Here he touched upon several problems pertaining to popular portable audio interfaces that modern-day musicians have been forced to live and work with for quite some time. Some related to workflow, some to compatibility, and even audio quality. This has prompted Arturia to take significant steps to solve these issues once and for all!

But why run the risk of entering an arguably already overcrowded market sector with yet another audio interface? Why, indeed, Mr President? Indeed, during the keynote, Frédéric Brun bravely admitted that a distributor had warned him not to go there, stating that there are already “…too many competitors — large companies with history in the field.” His reasoned response? “Yes, that’s true. But at Arturia we are stubborn, and we think we can do something different. We think we can bring something new to market.”

 

Clearly, creating something that is both genuinely different and new to an already existing and hotly- contended market sector is no easy task. Take the mind-boggling number of audio formats out there. Think microphone, line, phono, and instrument inputs, each with different levels requiring different impedance. How about effortlessly connecting to Mac and PC computers, an Apple iPad or an Android device? Then there are all the digital audio formats (ADAT, S/PDIF, et al) as well as word clock to cater for those wishing to synchronise with the professional audio world. USB and MIDI might be useful, too! You get the picture. One visionary presidential person present at Arturia’s 15th anniversary celebrations sees the bigger picture perfectly clearly. Asked an incredulous Frédéric Brun: “Do you know how many audio interfaces on the market offer that? Zero!”

Then again, a well-thought-through portable audio interface that stylishly overcomes these perceived problems while bringing other mind-blowing features to the table is clearly closer to market than thought possible previously. Watch this space… seeing (and hearing) is really believing, believe us!

Watch an edited excerpt from Arturia President Frédéric Brun’s 15th anniversary company keynote speech that is as informative and entertaining as it is intriguing and enticing here: http://youtu.be/K6w7hza4Z2o

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Izotope inc announces RX4 & RX4 Advanced for September release!

iZotope Announces RX 4 and RX 4 Advanced
The next generation of an industry standard

Cambridge, MA (August 8, 2014) — iZotope, Inc. , a leading audio technology company, has announced an update to its flagship audio repair and enhancement suite, RX®. RX, an Emmy Award-winning audio repair toolkit, is used by musicians, sound engineers, and post production professionals everywhere to transform noisy, distorted, or flawed audio into pristine material.

Launching this September, the new RX 4 is designed to be the ultimate companion to a DAW or NLE with new intelligent modules, time-saving features, and deeper levels of integration with their hosts.

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Maschine 2.0 / Studio Preview 2 (The Sampler)

Time For Another Maschine 2 Preview!

I have been using Maschine 2.0 for a good bit now and am very familiar with it’s workflow and changes.

With Maschine 2.0 and the Studio controller about to hit the store shelves any day now. We have all heard about the great new 32 bit floating point sound engine, but I thought it might be nice to discuss some of the changes to workflow that you can expect.

Lets get right into it by talking about the sampler section

sampler view m2studioinput selection areaThe first thing of note is now we are not limited to using only stereo inputs. This means we can sample mono sources with out having to convert later.  On the studio controller we are given input selection buttons to allow us to directly select our source right from the hardware.

The four tabs in the left hand hardware screen are Record, Edit, Slice and Zone.

Under the Edit tab we are also given a new “Selection Range” this is a great feature in that it allows us to select a portion of the sample separate from the start and end points and loop points and apply functions such as time stretching or normalization to just that selection. you can pre hear the selection range from the software by clicking play icon next to the file name. very good for checking selections without screwing up your start and end points.

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