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/ 

Fuse Audio Labs looks back towards rare Fifties-vintage, all tube pre for VPRE-2C plugin

DUESSELDORF, GERMANY: DAW (Digital Audio Workstation) plugin and audio DSP (Digital Signal Processing) developer Fuse Audio Labs is proud to announce availability of VPRE-2C — its latest plugin par excellence, based on a rare all-tube, transformer-based booster amp whose basic circuit design has been used in countless tube consoles for broadcast and recording during the late-Fifties and early-Sixties — as of February 7…

VPRE-2C enriches any recording with an authentic-sounding tube vibe in the most intuitive way. While lower GAIN settings produce a well-defined, balanced sound with an accentuated midrange, turning up this level-compensated control also significantly increases the perception of warmth, weight, and smoothness.
Saying that, the plugin also emulates its inspirational hardware forerunner’s two triode-strapped 6J7 pentodes for a rich THD (Total Harmonic Distortion) spectrum as well as the original transformer configuration to bring back its signature low-end mojo, while also adding a selectable pre-/deemphasis filter and a MIX control for a greater variety of tones. Another exclusive feature is its BOOST mode — for kicking in more solid drive and coloration.
“Creating VPRE-2C was a fun project,” proclaims Fuse Audio Labs CEO Reimund Dratwa“Rebuilding and modeling the original circuit was a rather straightforward affair, but tweaking this classic amplifier into a versatile and easy-to-use tone box in the digital domain required some thought for sure! The result really is a ticket back in time to deliver that wonderful vintage sound whenever anyone hears it calling out to them.” 

VPRE-2C is available at an introductory promo price of 24.50 EUR until March 7, 2020 — rising thereafter to its regular price of 49.00 EUR — directly from Fuse Audio Labs’ website here: https://fuseaudiolabs.com (All prices include VAT, where applicable.)

Note that a 14-day trial version of VPRE-2C without any limitations is also available.
For more in-depth information, please visit the dedicated VPRE-2C webpage here: https://fuseaudiolabs.com/vpre2c.html


Plugin Alliance presents BrainWorx enhanced Shadow Hills Mastering compressor Class A as a VST


Shadow Hills Mastering Compressor Class A


The Pinnacle Of The Shadow Hills Sound

“I love my customized Shadow Hills Mastering Compressor; not only did Brainworx match it, but, I have to admit, I wish it had all those extra cool features like the mono-maker, stereo width and the parallel mix to name a few.”

– Michael Brauer — Multiple Grammy awarded Mix Engineer (Coldplay, John Mayer)

Los Angeles, CA, January 14th 2020 
– Plugin Alliance is proud to announce the availability of the new Shadow Hills Mastering Compressor Class A.
Available exclusively via Plugin Alliance, and enhanced by Brainworx with patent-pending TMT and more, we are happy to add this plugin to the growing line of Shadow Hills plugins. The Shadow Hills Mastering Compressor Class A Limited Edition is one of the most exclusive and powerful compressors ever built. Vintage King released the Class A in 2012, limiting production to only 50 units!
The VCA section is much punchier on this version. Brainworx added even more features to the emulation of the already modded hardware version. The RED version is punchier, faster, and more versatile than the GREEN.
With the limited edition, Shadow Hills Industries included an updated Class A discrete compressor section utilizing Lundahl input transformers as well as hand wiring each compressor with Mogami Cable, an important factor when Brainworx Audio modeled one of these limited units as it gave the limited edition version a different character to the original.
During rigorous shoot-out tests against the Shadow Hills Industries Mastering Compressor, our pro audio engineers observed time and time again that the Class A features a smoother compression sound, punchier VCA, a more pronounced sonic dimension, and overall larger size and perceived depth. Another interesting difference between the Shadow Hills Industries Mastering Compressor and the Class A version is that with the gain set to identical values on both units the Class A version clocks in roughly 1 to 3 dBs higher, matching the emulated hardware, and, as a result, delivers a thicker and richer tone to whatever is running through it.
For this limited edition, Brainworx included its well-known retractable Extra Unit. The BX Extra Unit provides the following features: Brainworx’s TMT (patent-pending Tolerance Modeling Technology), M/S processing, Mono-Maker, Stereo Width, Parallel Mix, Sidechain Filter, continuously variable 12 dB per octave high pass filter, and a Headroom parameter.
Visually, this version can also be distinguished by red LEDs on the front panel versus the green ones found on the Shadow Hills Mastering Compressor — GREEN for the Drum Buss, RED for the Master!
Added to the MEGA Bundle at no extra cost. 

Shadow Hills Mastering Compressor Class A 
is available for purchase (as an AAX AudioSuite-, AAX DSP-, AAX Native-, AU-, VST2-, and VST3-supporting plugin for MacOS 10.9 through 10.14 and Windows 7 through 10) at an attractive introductory price of $199.99 USD — rising thereafter to an MSRPof $329.00 USD — from here: https://www.plugin-alliance.com/en/products/shadow_hills_class_a_mastering_comp.html (Upgrade for GREEN version owners: If you already own the green Shadow Hills Mastering Compressor, you’ll get the new RED edition for $99.99 USD.)
A fully-functional, 14-day trial of Shadow Hills Mastering Compressor Class A is available to anyone registering for a free Plugin Alliance account here: http://www.plugin-alliance.com/en/registration.html

Shadow Hills Mastering Compressor Class A is included in Plugin Alliance’s monthly MEGA Bundle subscription (https://www.plugin-alliance.com/en/products/pa-mega-bundle-monthly.html) and annual MEGA Bundle subscription (https://www.plugin-alliance.com/en/products/pa-mega-bundle.html) 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 dedicatedShadow Hills Mastering Compressor Class A webpage here: https://www.plugin-alliance.com/en/products/shadow_hills_class_a_mastering_comp.html
Watch Plugin Alliance’s Overview and Demo video for Shadow Hills Mastering Compressor Class A here: https://youtu.be/JTXpwq2Cq6s
Watch Plugin Alliance’s Trailer video for Shadow Hills Mastering Compressor Class A here: https://youtu.be/BBf10TeCa9g 



Audio damage releases virtual analog MPE supported continua synth

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

VIDEO OVERVIEW

 
HIGHLIGHTS

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

AUDIO EXAMPLES


FEATURES

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

Hammond b-3x by IK multimedia in partnership with Hammond USA and Suzuki music Corp

IK Multimedia Debuts Hammond B-3X virtual instrumentin partnership with Hammond USA and Suzuki Music Corp. of Japan

IK’s Hammond B-3X is the first real Hammond organ for Mac/PC, complete with Leslie™ speaker

Hammond B-3X - Image

September 26, 2019 – IK Multimedia announces the Hammond B-3X tonewheel organ virtual instrument. Created in close collaboration with Hammond USA and Suzuki Music Corp. of Japan, along with top Hammond artists, it meticulously recreates the sound, controls and entire effects signal path of the legendary Hammond B-3. This comprehensive approach offers a level of realism and detail that will satisfy most the discriminating B-3 fans while also offering an affordable introduction to the unique world of tonewheel organs that can be enjoyed by all levels of players.

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

Available for Mac/PC as a stand-alone application and as a virtual instrument plug-in, the Hammond B-3X offers plug and play convenience for both recording and performing.

Hammond USA Executive Vice President Peter Nguyen shared, “We’re excited about the very first official Hammond/Leslie Virtual Instrument, and the partnership with IK Multimedia which made it happen. The teams certainly captured the qualities that have made the Hammond Organ an essential part of music for the past 85 years.”

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

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

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

Hammond B-3X - Image

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

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

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

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

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

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

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

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

  • Mixer – blends the sound of the Leslie, with independent volume and panning of both the horn and drum mics, the parallel guitar amp, and the DI organ sound for unprecedented tonal flexibility

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

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

Pricing and availability
Hammond B-3X is available from the IK Multimedia online store and from authorized IK dealers worldwide for a special introductory price of €/$199.99 (regular pricing will be €/$299.99). IK customers with qualifying registered products with a retail value of €/$99.99 or more will be eligible for special introductory crossgrade pricing of €/$149.99 (regular crossgrade pricing will be €/$199.99).

** All prices excluding taxes

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

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

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

Rob Papen releases new virtual analog vst B.I.T (back in time)


Rob Papen progresses back in time to bring B.I.T. into being as analogue-modelled soft synth fit for today


ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of B.I.T. — bringing namesake company founder and acclaimed sound designer Rob Papen’s persistent passion for subtractive synthesis into being as an aptly-named, analogue-modelled software synthesizer fit for today’s DAW (Digital Audio Workstation) workflow — as of June 11…
B.I.T. stands for Back In Time — an apt acronym for Rob Papen, collectively or otherwise. On the face of it, namesake company founder and acclaimed sound designer Rob Papen’s passion for subtractive synthesis remains as strong as when he first started working with synthesizers way back when, purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer at the tender age of 15 — more recently reaffirmed by self-publishing the publicly praised The Secrets Of Subtractive Synthesis combined book and DVD package based on his The 4-Element Synth© teaching method. Moving back to task — to the wondrous world of B.I.T. specifically and Rob Papen collectively, the virtual instrument and effect plug-in developer’s newest software synthesizer sets its inspirational sights solely on analogue-modelled synthesis, rather than combining the best of analogue modelling with hybrid synthesis techniques that have hitherto formed the much-admired musical backbone of the company’s classy creations.
What’s with the apparent change of musical direction, then? The concept behind B.I.T. comes down to this: classic analogue synthesizers still show an appeal that the renowned Rob Papen brand is perfectly positioned to tap in to. This is not surprising since Rob Papen himself still has a pristine example of Roland’s (former flagship) Jupiter-8 analogue programmable polysynth — purchased brand new back in the ‘dying days’ of analogue in 1983 (albeit now seriously sought after and astronomically priced) — taking pride of place in his studio setup; several other analogue classics comfortably reside there alongside it, including that ‘teenage’ Korg combo. Clearly inspired by backward progression, pure analogue-modelled synthesis is the order of the day when it comes to B.I.T. — no spectrum waveforms or samples required!
Really, making the most of Korg’s classic MS-20 requires patch cables, but B.I.T. does not need any as an analogue-modelled software synthesizer plug-in par excellence — despite demonstrating masterful modular-like attributes. An advanced MOD MATRIX makes for painless patching while a smart ADV (advanced) panel positioned below the oscillators offers a helping hand. Activating ADV allows users to quickly make useful connections, such as the LFO and ENV (envelope) to the oscillator parameters. Pushing further forward, B.I.T. also allows OSC 1 to modulate OSC 2 in several ways, which increases its sound palette to take in phase modulation, frequency modulation, and ring modulation.
Musically, of course, any Rob Papen software synthesizer would likely be viewed as being incomplete without an arpeggiator — as, arguably, would Rob Papen’s prized Roland Jupiter-8, and B.I.T. is no exception to this unwritten rule. Indeed, its fully-featured ARP can also work in sequencer mode and has an additional FREE row that can be used to modulate other elements of B.I.T. by using the MOD MATRIX.
Making it to the finish line, B.I.T. brings with it some superb-sounding effects, comprising CHORUSDELAYFLANGER, and PHASER, plus Rob Papen’s proprietary REVERB, so no need (necessarily) to turn to an external reverb of any kind to bring some space to the virtual instrument and effect plug-in developer’s newest software synthesizer.
So while B.I.T. stands for Back In Time it could conceivably stand for Be Inspired Today! After all, Rob Papen has added a 16-voice, authentic-sounding, analogue-modelled software synthesizer fit for today’s DAW workflow to its lengthening line-up of virtual instruments, intermixing innovative design, uncompromising sound quality, and musical, production-grade presets — over 950 this time — to make tracks truly shine. Still better, B.I.T. brings with it the secrets of subtractive synthesis, thanks to namesake company founder and acclaimed sound designer Rob Papen!

B.I.T. can be purchased from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for an introductory promo price of 79.00 EUR (including VAT)/$79.00 USD until the end of June 2019 — rising thereafter to 99.00 EUR (including VAT)/$99.00 USD — from here: https://www.robpapen.com/buybit.html

B.I.T. Stands for back in time and is a modern take on vintage analog synth modeling

Note that B.I.T. is included in the latest version of the eXplorer 5 bundle (https://www.robpapen.com/eXplorer-5.html), so existing owners only have to download the latest installer and run it to add B.I.T. to their Rob Papen virtual instrument and effect plug-in collection.
B.I.T. is available as a 64-bit AAX-, AU-, and VST-compatible software synthesizer plug-in for Mac (OS X 10.8 – MacOS 10.14) and as a 32- and 64- bit AAX- and VST-compatible software synthesizer plug-in for PC (Windows 7/Windows 8/Windows 10) — AAX for PT 12 or higher (PC).
B.I.T. uses a serial/license system with activation when registering. (A second serial for a secondary computer is available after registering the original.)
For more in-depth information, please visit the dedicated B.I.T. webpage here: https://www.robpapen.com/bit.html
Some superb-sounding audio demos made only with B.I.T. can be heard here:https://www.robpapen.com/dmdocuments/RobPapen_BIT_Classic_Synth_Demo01.mp3https://www.robpapen.com/dmdocuments/RobPapen_BIT_Classic_Synth_Demo02.mp3https://www.robpapen.com/dmdocuments/RobPapen_BIT_Contemporary01.mp3

T-RackS 5 tape machine collection released

IK Multimedia releases T-RackS Tape Machine Collection for T-RackS 5

New tape sim plug-ins recreate the iconic character of four classic tape machines

T-RackS Tape Machine Collection

June 12, 2019 – IK Multimedia has released the T-RackS® Tape Machine Collection for its industry standard T-RackS mixing and mastering software workstation. This new collection of plug-ins recreates the iconic sound and character of four classic tape recording machines from the 1960s, 1970s and 1980s: the Ampex® 440B, the Studer® A80, the MCI® JH24 and the Revox® PR99. In addition to finely detailed machine emulations, the collection also offers a selection of reel-to-reel tape formulas, variable tape speed, transport controls, and other tone shaping features.

Many of the world’s greatest songs were recorded on analog tape machines and featured the desirable and pleasing saturation, EQ and cohesion that could only come from a tape machine. Today, working with classic machines can be an expensive and time-consuming proposition. The T-RackS Tape Machine Collection offers this sought after warmth and character in a cost-effective package with a modern-day, practical workflow.

This new collection is the culmination of two years of full time research and development on real world-class machines. Each machine went through a complete electronic and mechanical renovation to bring it perfectly back “to specs” before IK’s DSP engineering team took each stage apart, studying and analyzing them to produce a model of the entire magnetic tape recording process.

This model works in symbiosis with a powerful dynamic convolution engine to capture the full essence of the real machine, and the T-RackS Tape Machine Collection faithfully brings all this magic right to any DAW.

Four pieces of history

The T-RackS Tape Machine Collection bundles together 4 new plug-ins, each also available individually:

Tape Machine 440: The Ampex 440B series dates from the late 1960’s and delivers an unmistakably soulful color that made this professional and historic mixing and mastering machine a legend. This superb blend of art and technology has the power to turn mixes into finished tracks.

Tape Machine 80: The legendary Studer A80 Mk II, in its various revisions, is an essential part of countless influential records. Engineered and manufactured in Switzerland from 1970 to 1988, it became the de facto standard for professional high-end multi-tracking. The A80’s sonic signature is a perfect blend between transparency and subtle harmonic enhancement.

Tape Machine 24: A model of the MCI JH24. First produced in 1980, the JH24 was a staple in US studios during the 1980s. This completely transformerless, high performance op-amp-based design delivers a pristine, phase coherent and remarkably true-to-the-source audio performance. This results in a moderate and elegant polish.

Tape Machine 99: The Revox PR99 Mk II is a stereo professional recorder produced by Studer in the 1980s. Engineered around a hybrid design that combines the best of discrete and op-amp topologies, this model offers a very smooth frequency response, especially on bass, with almost no trace of the typical “head bump” phenomenon. A standard for broadcast and classical music, this machine was appreciated by audiophiles for its exceptional sonic quality.

Four magic formulas

Each plug-in in the Tape Machine Collection offers a selection of four different tape formulations, each with its own unique tone.

250: Modeled after the 3M/Scotch 250 formula, it is the most colored of the four formulas. It went in production around 1974 and delivers a warm tone with slightly more distortion and saturation than the other formulas included in the package.

456: Modeled after the Ampex 456 formula, this model went into production around 1974. Perhaps the most widely used tape, it contributed the most to what is considered “the” tape sound. It offers a warm, round tone with a slight touch of saturation that greatly responds to the recording level.

GP9: Modeled after the Quantegy GP9 formula, this tape accepts higher levels of signal with minimal distortion and compression, is very punchy and perfect for modern high-quality analog recordings.

499: Modeled after the Ampex 499 formula, this tape is designed to handle a great amount of level with minimal distortion and compression. It also exhibits added high frequency definition that makes it perfect for printing “digital-like” recordings, while still maintaining an analog sound.

Comprehensive Controls
All Tape Machines Collection plug-ins share the same set of controls to enhance the ease of use and allow for quick A-B comparisons among them. Key features include:

Signal path selection: With “Input,” the signal only passes through the input and output electronic stages of the recorders, bypassing the tape. Depending on how the recorder is designed, the Input path can sound extremely transparent or just slightly more colored. “Repro” passes the signal through the entire analog recording system: input, recording amplifier, recording head, tape, playback head, playback preamplifier and output stage.

True Stereo: Even a perfectly aligned tape machine will have slight level, EQ and distortion differences between the left and right channels. The T-RackS Tape Machines Collection perfectly recreates these subtle differences to deliver the real experience. This feature can be disabled if desired.

Tape Speed: Select the speed of the tape transport between 7 1/2 and 15 or 15 and 30 inches per second (“ips”), depending on the tape machine used. The higher speed offers more fidelity, and the lower speed delivers a warmer, rounder tone.

Transport Modeling: Precisely models the behavior of the mechanical transport. Small irregularities in the movement of the tape create various degrees of sonic alteration to the audio, especially between the two channels. This control can also be disabled.

Record Bias: Ideal bias voltage settings provide maximum sensitivity and low distortion. Intentionally overbiasing is a common technique to produce a warmer, gently saturated sound. Underbiasing can be used to boost the high frequencies in a truly unique way and add distortion and other nonlinear effects.

Flexible use options
Like all T-RackS processors, the individual T-RackS Tape Machines offer two ways to work: as a single plug-in, or inside the T-RackS 5 shell.

The T-RackS Shell allows users to combine any of the 43 T-RackS processors in a single instance. Create custom combinations of processors, using both series and parallel routing, that take up only a single plug-in spot in any DAW and can be saved and recalled for lightning-fast workflows.

This Shell offers offers a unique, modular system with up to 16-processor chains, easy A/B/C/D comparison, up to 192 kHz / 32-bit floating point processing and much more, and works as both a plug-in and stand-alone mastering application.

About T-RackS 5
T-RackS 5 is the latest version of IK’s industry standard mixing and mastering software workstation that has been used on countless albums by top engineers for more than 20 years. This powerful modular system offers maximum versatility via 43 high-quality processors (EQs, limiters, compressors, etc) that can be used in parallel or series, in a variety of working environments. In total, T-RackS 5 offers everything needed to professionally treat and finalize audio from raw mixes to a perfect finished product. For even more professional results, each version of T-RackS 5 also offers free downloadable signature presets from some of the industry’s top engineers.

Pricing and availability
The T-RackS Tape Machine Collection bundle and individual Tape Machine Singles are available now in the IK Multimedia online store, Custom Shop and from IK authorized dealers worldwide.

For a limited time through June 30, 2019, the T-RackS Tape Machine Collection bundle will be available at a special introductory price of only $/€99.99*. Each Tape Machine Single will also have a special introductory price of $/€79.99*.

After June 30, The Tape Machine Singles will be offered for $/€99.99* each, and the T-RackS Tape Machine Collection featuring all four machines will be offered for $/€199.99* (a savings of 50% compared to purchasing individual models separately).

* All prices excluding taxes

For more information about T-RackS Tape Machine Collection, please visit: www.ikmultimedia.com/trtapemac

To see T-RackS Tape Machine Collection in action, visit: www.ikmultimedia.com/trtapemac/video

Plug-in alliance announces new line of vst instruments


Plugin Alliance announces a new product line of Virtual Instruments


SANTA CRUZ, CA, USA: as the music, sound, and event technology communities collectively unite in making their final approach for landing at The 2019 NAMM Show in Southern California, January 24-27,Plugin Alliance is proud to announce its approaching entry into new space with welcomed Virtual Instruments (VIs) that are all set to turn heads and open ears when released into the wider world…
With 10 years spent successfully crafting professional plugins for mixing and mastering as well as guitar and bass amplifiers under its collective belt, Brainworx will soon be leading Plugin Alliance into a brave new world of professional VIs with its first software synthesizer, applying the same modeling know-how and proprietary, patent-pending Tolerance Modeling Technology (TMT) that was first used on its industry-leading pro audio plugins like thebx_console Nbx_console SSL 4000 E, and bx_console SSL 4000 Gchannel strips — the latter two being officially approved by Solid State Logic itself — or HG-2, a mastering-grade tube saturation and harmonics plugin perfected in close collaboration with premierPlugin Alliance partner Black Box Analog Design.
Duly announcing its approaching entry into the VI market with aBrainworx bang, both established and newfound third-party Plugin Alliance partners are also all set to release equally exciting VIs of their own in what will positively prove to be an exciting era for sound design-savvy synthesists and songwriters alike.
As such, surely Brainworx Audio Director of Product Management Christian Diehl is perfectly qualified to put this thrilling announcement into its rightful context right here, right now: “I’m very proud to be part of the team that successfully appliedBrainworx’s expertise, knowledge, and skills to start a new product line featuring accurately modeled synthesizers with unique elements like our proven and popular TMT functionality. We are very excited about also being able to team up with DS Audio and Unfiltered Audio to make this a very attractive start to an exciting new product line for Plugin Alliance customers.”
Clearly, then, Plugin Alliance is on a visionary mission to reach out to both new and current customers with its impending VI product line. In it for the long haul, more announcements are on the (event) horizon in what promises to be an exciting trip; time to get ready to set your controls for the heart of the sound!