Author Archives: flux302

Heritage audio announces successor stereo compressor

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Heritage Audio announces SUCCESSOR STEREO BUS COMPRESSOR missing link like no other


MADRID, SPAIN: having made sizeable (sound) waves when bringing its innovative RAM Systemrange of monitor- controlling solutions pioneering Bluetooth audio streaming, plus premium processing, excellence-exhibiting ELITE SERIES mic preamps to market in 2018, European pro audio manufacturerHeritage Audio aims to repeat its successes several times over during the course of 2019, starting with an announcement of the upcoming SUCCESSOR STEREO BUS COMPRESSOR — a new stereo bus compressor like no other on the market — as of January 22…
What better way to make a formal introduction, then, than withHeritage Audio CEO Peter Rodriguez’s rallying call, centred around a bold opening statement: “SUCCESSOR is the missing link between your separate tracks and a full and round-sounding hit, allowing vocals to shine through without muddying the backing track.”
That being boldly said, why settle for sterile VCAs (Voltage Controlled Amplifiers) in mix or instrument bus applications now that theSUCCESSOR STEREO BUS COMPRESSOR — to give it its full and apt appellation — will soon be on the market?Meanwhile, back to the man with a successful SUCCESSOR STEREO BUS COMPRESSOR-centred plan, Peter Rodriguez: “Feel how your separate tracks interact and blend together in a way that’s not possible when master bus compression duties are relegated to the mastering stage.”
So what’s the thinking behind the SUCCESSOR STEREO BUS COMPRESSOR, then? Traditionally, bus compression has been taken care of by VCA-style devices, based on ICs (integrated circuits), which are wholly unrelated to the warmth, fatness, and character associated with discrete Class A technology trading on chunky transformers and diode bridge-based gain reduction. Results show that the SUCCESSOR STEREO BUS COMPRESSOR can capably deliver on all of those attributes and then some.
“Snare drums can be more present, and the stereo image widens as there is more natural room for tracks to breathe; vocals stand out in the mix without being overwhelming or muddying guitars or other instruments.” So says Peter Rodriguez. And he should surely know.
Knowingly making use of Carnhill transformer-coupled balanced inputs and outputs for added character and vintage vibe, Heritage Audio’s new SUCCESSOR STEREO BUS COMPRESSOR is, indeed, a true stereo diode bridge-based bus compressor with advanced sidechain filtering and built-in parallel processing capabilities, sharing the same Class A ’73-type output stage that the Spanish company is famous for.
Fortunately for the discerning, diode bridge-based bus compression excels at bringing about 2nd order harmonic distortion characteristics and true vintage tone while eliminating nasty odd harmonic content. Clearly, by being based on legendary vintage diode bridge designs, the SUCCESSOR STEREO BUS COMPRESSORkeeps the sonic character of such units alive, albeit adding new features into a pleasingly-musical mix, making for a very different animal in its own right — one which will make mixes shine in modern production environments. Ultimately, ultra-fast ATTACKand RELEASE control times that are not present in vintage designs allow for far more flexible settings, such as FET-like sounds and volume maximising without transient artefacts.
Are there any additional noteworthy features to be found on the soon-to-be-market-leading SUCCESSOR STEREO BUS COMPRESSOR? Why, of course! Complex sidechain filtering options, which work well with already commonplace high-pass filters to introduce mid-band peak filters and high-frequency compression to allow bus correction that was not previously possible — ultimately, users can tailor their mixes in ways not previously possible, in other words; SIDECHAIN L and SIDECHAIN R SEND and RETURNconnections, allowing for external sidechain signals or further external processing of the internal one; BLEND control (with dedicated ON/OFF button allowing for instant comparison betweenWET and DRY signals), offering built-in parallel compression with no external equipment required; and, last but not least… true stereo operation on single controls with matched gain cells for extremely precise left/right tracking and almost zero offset between channels — compression tracking works in ‘Oxford’ mode, meaning that the highest signal takes over compression as opposed to summing the left and right channels.
From FET-like, all-buttons-in drum sounds — now in stereo! — to VCA-style mix bus compression with the added warmth and fatness that only transformers can bring to the table, the SUCCESSOR STEREO BUS COMPRESSOR literally lives up to its notable name. After all, it is designed to stay hooked up to the mix bus and make mixes shine forth for all to hear, so making mixes a success is the name of the (Heritage Audio) game (plan)!
Planning on attending The 2019 NAMM Show, January 24-27 in Anaheim, California? Come feast your ears on Heritage Audio’sSUCCESSOR STEREO BUS COMPRESSOR alongside other tasty pro audio treats there on RAD Distribution’s booth (15318). 

The SUCCESSOR STEREO BUS COMPRESSOR will be available by the end of Q1 via Heritage Audio’s growing global network of dealers (https://www.heritageaudio.net/where-to-buy/) with an MSRP of€1,299.00 EUR (excluding VAT) and MAP of $1,499.00 USD.

For more in-depth information, please visit the dedicated SUCCESSOR STEREO BUS COMPRESSOR webpage here:https://heritageaudio.net/catalogue/successor/
Watch Heritage Audio’s informative introductory SUCCESSOR STEREO BUS COMPRESSOR video here:https://youtu.be/KbtJPrV1DaY 



Rossum electro music announces trident Multi-syncronic oscillator

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Trident

Multi-Synchronic Oscillator Ensemble

The latest brainchild of synth pioneer Dave Rossum, TRIDENT is a 100% analog, triple oscillator module that opens up a universe of dynamic timbral textures.

At its most basic level, TRIDENT is three precision audio VCOs, each sporting a unique variety of control voltage inputs. 

The main or “Carrier” oscillator provides its three waveforms simultaneously. The two Modulation Oscillators each have a single output and a waveform selector. The Modulation Oscillators also have a voltage controlled Symmetry parameter which varies the duty cycle of the triangle wave output from sawtooth to triangle back to time reversed sawtooth, and also varies the sawtooth output to have an upward or downward kink in the middle, as well as controlling pulse width when the pulse waveform is selected. 

And while each oscillator can be used independently if desired, it’s when they’re combined into a synchronous ensemble that the real sonic magic happens.

That magic is what we call Zing Modulation. Each of the Modulation Oscillators can modulate each of the Carrier outputs in an amount controlled by the Zing parameter. Zing Modulationis mathematically akin to ring modulation, but due to the synchronization of the oscillators (when an oscillator’s Sync button is on), the aharmonic sum and difference sidetones of ring modulation transform into complex but purely harmonic overtone spectra, which vary dynamically and dramatically with the frequency and waveshape modulations of the modulation oscillators.  Each change in the Modulation Oscillator parameters – Frequency, Symmetry, Waveshape, Zing, and (in the case of Modulation Oscillator 2) Phase – will have a different effect on the timbre of each of the three Carrier waveshape outputs.

When the modulation oscillators are set to track the carrier oscillator, the waveshape will remain constant as the carrier frequency changes.  In this case the overtone structure is determined by the settings and CV modulations of the modulation oscillators.  If instead the modulation oscillators do not track the carrier, some of the overtone structure will vary relative to the carrier frequency.

What all this means is that whether you take advantage of Trident’s unique synchronous modulation capabilities (which you, of course, should), or just treat it as three superb, wide-range analog oscillators, TRIDENT offers a vast variety of dramatic sonic textures.

TRIDENT features include:

– Three precision analog oscillators with dedicated 1V/Octave inputs and coarse control ranges of 20Hz to 20kHz and modulated ranges of 0.01Hz to 25 kHz.

– Main Carrier oscillator with simultaneous triangle, sawtooth and pulse waveforms, with exponential and linear frequency modulation and pulse width modulation.

– Main Carrier oscillator hard sync input 

– Modulation Oscillator 1 with selectable triangle, sawtooth and pulse waveforms with exponential frequency modulation, variable symmetry and symmetry modulation, and variable Zing level and Zing level modulation.

– Modulation Oscillator 2 with selectable triangle, sawtooth and pulse waveforms with exponential frequency modulation, variable symmetry and symmetry modulation, variable Zing level and Zing level modulation, and variable phase and phase modulation.

– Both Modulation Oscillators with independently selectable options to sync to the Main Carrier oscillator and track the Main Carrier oscillator

– Trident, like all Rossum Electro-Music modules, features solid construction, with thick aluminum panels, solid aluminum knobs, and quality components throughout. 

TRIDENT is 30HP wide and 25mm deep.

Power requirements (max):  250mA +12V, 225mA -12V. Reverse polarity protected.

TRIDENT will be available this spring from Rossum Electro-Music dealers worldwide.

Beyerdynamic creator bundle announced

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beyerdynamic Pairs FOX Microphone with Professional Headphones for Creator Bundle

NAMM attendees can enter to win beyerdynamic’s Creator Bundle during the Anaheim show

Farmingdale, NY. – January 21, 2019 –beyerdynamic, one of the world’s leading manufacturers of headphones, microphones and conferencing products, announces Creator Bundles, combining the FOX USB-C Studio Microphone with professional headphones, DT 240 PRO or DT 770 PRO. beyerdynamic will giveaway two Creator Bundles daily at the National Association of Music Merchants (NAMM) Show in Anaheim, California from January 24 – 27, 2019.

beyerdynamic’s Creator 24 Bundle features the FOX USB paired with the DT 240 PRO, a mobile stereo headphone for monitor and recording purposes. The DT 240 PRO features clean, deep bass, vivid mids and defined highs. Designed to provide studio quality in an environment, the DT 240 PRO’s precise and powerful drivers ensure a high output volume on any device. The DT 240 PRO’s high noise attenuation prevents the penetration of ambient sound, making it an ideal product for producers, podcasters and filmmakers. Featuring a lightweight, yet rugged, design, the DT 240 PRO is built with a padded headband and soft, replaceable earpads for a comfortable fit.

The Creator PRO Bundle pairs the FOX with a studio legend, the DT 770 PRO, which is recognized as the most frequently used studio headphone in the world. The DT 770 PRO is a closed, dynamic headphone with exceptional sound quality, long term comfort and accurate performance. The DT 770 PRO is the perfect monitoring headphone for recording studios, post production, and broadcasting studios. Built with a low mass coil and diaphragm assembly, the DT 770 PRO produces a transient performance for the most demanding professional and audiophile applications. The DT 770 PRO features a carefully tailored frequency response to highlight natural and balanced sound, meanwhile, it’s soft earpads and adjustable earpieces created unparalleled listening comfort.

During NAMM 2019, beyerdynamic will select two giveaway winners each day to receive a Creator 24 Bundle, including the FOX USB-C and DT 240 PRO. To enter to win, NAMM attendees can visit beyerdynamic to take a photo with one of the products, share the image on Facebook and Instagram with #BDNAMM2019. Participants will be added into a drawing for a chance to win one of beyerdynamic’s Creator 24 Bundles. For additional details and rules, please visit beyerdynamic in booth 16104 at the National Association of Music Merchants (NAMM) Show in Anaheim, California from January 24 – 27, 2019.

To learn more about beyerdynamic, please visithttps://north-america.beyerdynamic.com/. Connect with beyerdynamic on Facebook, Twitter, Instagramand LinkedIn for news on the latest promotions.

Strymon volante pedal brings tape echo a bit further.

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Strymon shifts stereo multi-head delay focus to pedalboards with Volante Magnetic Echo Machine marvel


WESTLAKE VILLAGE, CA, USA: literally following in the footsteps of its first foray into the Eurorack small-format modular market with its Magneto Four Head dTape Echo & Looper module, shipping soon after a successful showcase at The 2018 NAMM Show in Anaheim, CA, powerful processing effects developer Strymon is proud to announce its Volante Magnetic Echo Machine followup — focusing its innovative design on radically enhancing the sonic expressiveness of pedalboards as a stereo multi-head delay that also offers a looper and vintage spring reverb, with powerful sound-sculpting controls for limitless sonic possibilities — as of January 14…
As implied by the Magnetic Echo Machine legend boldly blazoned across an attractive, rugged, road-ready, yet functional front facia that should feel familiar to owners of Strymon’s similar-sized effect pedals such as the award-winningBigSky (multidimensional reverb) or TimeLine (multidimensional delay) — or, for that matter, its inspirational Magneto Four Head dTape Echo & Loopermodule with which it shares some controls and design DNA, Volante features magnetic drum, tape, and (reel-to-reel) studio echo as a stereo multi-head delay that also offers a looper and vintage reverb. Reality dictated that Strymonrelentlessly studied and faithfully recreated every last magnetic delay system attribute to capture the nuance and complexity of classic tape and drum echo machines — from sought-after natural saturation and soft clipping of magnetic media when driven hard to hands-on, real-time controls for MECHANICS,WEAR, SPACING, and LOW CUT, Volante instantly adds tons of vibe to any user’s sound.
Situated at the center of Volante’s control surface are four delay playback heads with individual playback and feedback controls — each head’s playback level can be set for full volume, half volume, or off, and each head can be switched in or out of the feedback circuit. Creatively, users can even switch heads into the feedback circuit that are not activated for playback, putting the creation of complex rhythmic patterns, as well as reverb-like atmospheric textures, at anyone’s fingertips.
Fortunately for fearless users, Volante not only delivers the warm, luscious delay signals that magnetic tape machines are known for, it is also capable of a high degree of saturation — simply turn up the REC LEVEL knob to increase the gain of Volante’s analog class-A JFET input preamp circuit, sending a hot signal with analog warmth to the record head for facilitating any amount of saturation.
Some classic tape echo machines included small integrated spring reverb tanks tuned to limited bandwidth. Strymon skilfully captured this vintage vibe forVolante by creating a spring reverb with a gorgeous, gentle character that stands up to scrutiny on its own while also enhancing delayed signals.
Some vintage multi-head tape echo machines’ heads were not evenly spaced, which created interesting sonic interactions when multiple heads were set to repeat. Volante far from disappoints on that score; spacing is continuously variable for the entire travel of the SPACING knob, morphing between the available even, triplet, golden, and silver settings — the latter two ratios respectively realising dense, non-overlapping echoes and non-overlapping echoes biased toward the quarter note.
Needless to say, Volante also allows users to set the pan of each head individually for spacious, multi-head stereo delays. By default, all heads are panned center, with Volante still creating a pleasing psychoacoustic stereo image.
Imaging notwithstanding, Volante really sings when pushed to extremes! All the richly evolving, super-spacey sonic textures imaginable are available by turning up its REPEATS knob. Intuitive and responsive hands-on control for sculpting the feedback is also at hand.
Handily, Volante’s SPEED switch selects the speed of the recording media, allowing users to run any of its three magnetic echo machines at half, normal, or double speed; fidelity is higher at higher speeds, while lower speeds result in warmer repeats and more pronounced effects from mechanical and media irregularities introduced when turning up the MECHANICS knob.
By being designed from the ground up to radically enhance the sonic expressiveness of pedalboards, performance is clearly central to Volante’s raison d’être. Delayed psychedelic feedback sounds can be unleashed on command when working in Echo mode by pressing and holding the ONfootswitch to activate Infinite Repeats; regardless of the current REPEATSsetting, Volante will crank up echo regenerations for quick-building delay feedback — foot off of the switch results in Volante returning to the previous setting.
Speaking of performance, Volante can create dynamic loops that degrade and evolve. Change direction at the touch of a (reverse) footswitch. Press pause for a mechanical tape stop effect. Change the speed of the loop and simultaneously change the pitch in octave increments. Find an inspiring sound in Echo mode, and all echoes remain intact when engaging SOS (Sound On Sound). Once the loop has reached a perfect state of mutation, engage Infinite Repeats to stop further degradation, creating an infinite loop while disengaging the loop record head. While in Sound On Sound mode, pressing the ON footswitch results in the entire loop playing in reverse; users can continue recording new audio to layer with the reversed audio.
Armed with full MIDI control of every parameter, plus 300 preset locations,Volante is designed to be the center of sonic expressiveness for MIDI pedalboards. Put it this way: Volante transmits and receives MIDI over 5-pin DIN, USB, and even its EXP (expression) jack. Connecting an expression pedal opens up a whole new level of instantaneous, constant control; set as many knobs as desired for the heel and toe positions of the connected expression pedal and all settings simultaneously morph through the expression pedal’s full range. Remaining, briefly, outside of Volante itself, connecting Strymon’s simultaneously-announced MultiSwitch Plus accessory to Volante’s EXP jack adds additional footswitchable control; select between three presets, remote control of the SPEED switch, remote transport control, or further foot control while in Sound On Sound mode.
Continuing connectivity advancement, a dedicated INST (instrument)/LINEinput level switch ensures that Volante can comfortably work with a variety of input sources — switch to INS when using a guitar level input, LINE when usingVolante in the effects loop of a guitar amp or driving it with a hot output from a synth or mixer insert. Indeed, the LINE input is also perfect for using Volante as a send effect or insert effect in the studio.
Seriously flexible, then, the pedalboard sonic expressiveness-enhancing Volantereally rewards experimentation, yielding rich, hypnotic, and often unpredictable results — albeit always highly musical. Making room for one (or more) in a pedalboard or studio setup surely sounds like a perfect plan! 

Strymon is already accepting pre-orders for Volante via the Strymon Store (https://store.strymon.net/volante/)to American Samoa, Canada, Puerto Rico, United States, and United States Minor Outlying Islands for $399.00 USD (plus tax and shipping) or through its growing global network of authorized dealers (https://www.strymon.net/dealers/).
For more in-depth information, including informative video demonstrations, please visit the dedicated Volante webpage here:https://www.strymon.net/volante/

New zaor studio furniture maestro series announced

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studio furniture designer and manufacturer ZAOR Studio Furniture is proud to announce availability of its Maestro series — symbolising a new line of workflow-focused desk developments — as of January 14…
A Maestro is often defined as a distinguished conductor or performer of classical music — or, alternatively, a distinguished figure in any sphere. So, given that ZAOR Studio Furniture’s latest line of desk designs were developed in close collaboration with some of the best mastering/mixing professionals around, as well as manufacturers of some of the best mastering gear available anywhere, such as award- winning audio gear developer SPL, theMaestro moniker is, indeed, highly appropriate. As such, the new product line’s many features were carefully chosen to suit.
Starting with the larger Maestro 36, all aspects of its intended workflow were thoroughly analysed with new or improved solutions implemented for each as a direct result. Reality dictates that mastering Maestros will form its primary — though not necessarily exclusive — user base, so, since they will be applying final polishing touches to the sound of mixes or edits, listening experience enhancement lies at the heart of this thoroughbred design: an extra low profile prevents the desk from getting in the way of the all-important sound reproduction, aided by back- sited VMT absorption panels by self-styled Innovative Acoustics Solutionsprovider Vicoustic to minimise chaotic reflections and resonances, while the work surface itself is made from AERstop, an acoustic material that reduces reflections and deftly doubles as a mouse pad. Perfectly sized, an armrest aids smooth typing and reduces wrist stress.
Since Maestro 36 itself is effectively more ‘air’ than structure, sound is not boxed in — improving the listening experience from an acoustic standpoint; it also allows air to flow freely — keeping working temperatures at optimal operating levels. Additionally, a dual (audio/power) cable path separates signals from power leads, thereby keeping hum and other inductive noise to a minimum. Meanwhile, chrome bars with pre-fitted Velcro strips allow for fast and clean (re-)cabling.
As implied by name, Maestro 36 features 36 rack units, ultimately divided into three sections of 12U apiece, angled upwards at a gentle incline across the desk to accommodate all the tools essential to the job at hand. Here they are positioned within easy reach, realising focused workflow within a minimal footprint. Furthermore, an additional 18U of forward-facing rack space — split into three 6U sections — can be installed at floor level where visual contact is less important; installing only 12U of forward-facing rack space (split into the two 6U sections located to the left and right) as an alternative allows the user to stretch their legs in the space between them while working. Behind the angled rack units is a flat plane — lowered so as not to impede sound travel — that can comfortably carry computer screens at eye-level, near-field monitors — sited on optional isolators to avoid sound transmission through the desk itself, which would lead to smearing in the lower frequencies — for cross-checking mixes, and/or metering… nothing superfluous, nothing amiss, as ergonomics and acoustics are beautifully integrated to live together in perfect harmony. Mr McCartney might well approve; at any rate, his chosen mastering engineer would — with certainty!
Again, as implied by name, the smaller Maestro 24 tempts users with packing 24U of the most essential pieces of rack gear (in two sections of 12U angled at a gentle incline) across a desk design superficially similar to its Maestro 36 bigger brother to form a processing powerhouse suited to smaller spaces with all attributes present and correct — cue padded armrest, dual cable path, low profile, acoustic optimisation, and integrated mouse pad. Again, taking its innovative design cues from its Maestro 36 bigger brother, an additional 12U of forward-facing rack space — split into two 6U sections this time — can be installed at floor level.
Literally symbolising a new line of workflow-focused desk developments, then, the family Maestro members are constructed from MDF (Medium-Density Fibreboard) and hand-selected solid wood to cater for today’s production-savvy pro audio specialist. Simply put, they each encompass everything engineers, musicians, and producers always dreamed of owning. Of course, now that dream has become reality — realised as compact, great-looking, and affordable packages available to anyone. All are flat packed for easy transportation and assembled and disassembled easily, thanks to professional hardware.
Handily, the must-see Maestro series will be showcased by ZAOR Studio Furniture on Booth 17214 at The 2019 NAMM Show, January 24-27 in Anaheim, California. Come check them out! 

Maestro 36 and Maestro 24 are available to order (in Cherry Black, Silver Black, or Black finishes), either directly through the Zaor Online Shop (https://zaorstudiofurniture.com/shop/en/order) — including free shipping within the EU — or via ZAOR Studio Furniture’s growing global dealership network (https://zaorstudiofurniture.com/index.php?page=dealers) with respective RRPs of€2,999.00 EUR and €2,399.00 EUR, including tax.

For more in-depth information, please visit the dedicated Maestro 36 product webpage here:https://zaorstudiofurniture.com/index.php?page=classicmaestro36
For more in-depth information, please visit the dedicated Maestro 24 product webpage here:https://zaorstudiofurniture.com/index.php?page=classicmaestro24




Checking out the Qu-Bit Scanned VCO

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The Qu-Bit Scanned VCO is an interesting Eurorack Module that stands out from the crowd when you hear it. Thats a strong statement so the question is why??? Why does it sound so unique and strange? well the answer lay with the name “Scanned” as in Scanned synthesis. The scanned synthesis technique is relatively new in terms of synthesis having only been utilized since 1999. Invented by pioneers of computer music Verplank, Mathews and Shaw. The Csound platform was previously the only way to utilize this synthesis technique. A some what complex and certainly not what I would consider accessible route for the average synthesist.

Scanned Synthesis is based around Mass connected by springs and dampers.

The basic idea is that Scanned synthesis is a way of creating sounds based on the physics of a string of Mass elements connected by springs with dampers. excitation (think like a pluck) of the mass creates movement which is converted into sound waves. This is a bit over simplifying the technique. There are some very unique qualities of Scanned synthesis. The fact that the Mass can stay constant while pitch can be separately altered is unique. this separates Scanned synthesis from something like Karplus Strong or traditional wavetable synthesis. This is done via the update rate. Update rate is how fast the module is reading mass displacement and translating that into sound. This allows us to get this separation of time, Pitch and Timbre. The effect of this can be a musically stable yet evolving sound.

Scanned VCO pairs nicely with reverbs (I love sending it through my Spring reverb) and delays. It can go from sharp plucks to slowly evolving ambient textures with ease. It has a strangely digital quality when the frequency is low. The sound is oddly acoustic sound when excited with a mid range frequency with heavy mass. This is one of those modules you will get lost in, and thats a great thing when coming up with happy inspiring accidents.

Qu-Bit detals their module here https://www.qubitelectronix.com/modules/scannedvco

For more info on scanned synthesis I highly recommend reading this white paper https://paris.cs.illinois.edu/pubs/smaragdis-icmc00.pdf (thanks to Richard Boulanger, Paris Smaragdis, John fitch)

Fabfilter Pro-Q 3 released with dynamic eq and more

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  FabFilter is proud to announce the availability of FabFilter Pro-Q 3, a major update to the acclaimed Pro-Q equalizer plug-in. Pro-Q 3 improves on its predecessor in every area, introducing dynamic EQ, surround support, per-band mid/side processing, and much more, while maintaining the pristine sound quality and exceptional ease of use for which Pro-Q has always been known.
Integrated dynamic EQ
  Pro-Q 3 adds the ability to switch any of its 24 bands to Dynamic EQ mode, with a simple, elegant workflow: just raise or lower the Dynamic Range ring around the Gain knob to apply smooth compression or expansion to that band. An intelligent algorithm automatically chooses program-dependent attack, release, and knee settings, while the Threshold can be set automatically, according to the input signal level, or manually. And, of course, dynamic EQ bands continue to operate with perfect analog matching and support Linear Phase mode.
Surround support
  Pro-Q 3 works with all major surround formats, up to Dolby Atmos 7.1.2. The plug-in automatically configures itself to the multichannel format of the hosting surround track, and an intuitive selection panel enables EQ adjustment of multiple channels together.
Mid/side processing
  Pro-Q has long been able to work its equalization magic on the mid or side channels in a stereo signal, as well as left and right, and this functionality becomes even more flexible with Pro-Q 3. Each individual band can now be set to process only the Mid, Side, Left, Right, or Stereo channels, so users can get truly surgical with their stereo frequency-shaping on a band-by-band basis.
New filter types
  Pro-Q 3 adds to Pro-Q 2’s multitude of filter types with the all-new Flat Tilt shape, applying a flat tilting correction curve to the entire audible spectrum. And for those occasions when even the super-steep 96dB/ octave roll-off slope isn’t precise enough, the Low and High Cut filter types can now be set to Brickwall mode for the ultimate in top/bottom attenuation.
Improved spectrum analyzer and Spectrum Grab
  Pro-Q 3’s spectrum analyzer makes it easier than ever to find and correct problem frequencies in the mix. Activate the new collision detection to view clashes between the source signal and the spectrum of any other Pro-Q 3 instance in the session, and get an instant handle on the most important peaks in Spectrum Grab mode with frequency/note labels.
Key features:
  • Professional mastering-grade EQ plug-in with exceptional sound quality
  • Up to 24 bands with a huge range of filter types
  • Dynamic EQ option for every band
  • 6-96dB/octave slopes for all filter types
  • Additional Brickwall slope for the High Cut and Low Cut filters
  • Per-band Stereo, Left, Right, Mid, or Side mode
  • Zero Latency, Natural Phase, and Linear Phase processing modes
  • Extremely efficient processing and low memory usage
  • Surround support, including Dolby Atmos 7.0.2 and 7.1.2 formats with flexible surround channel linking
  • Adapts automatically to stereo, mono, and surround channel layouts
  • Intelligent multiband selection and editing
  • Intelligent band solo mode
  • Powerful real-time spectrum analyzer
  • External spectrum visualization from any other Pro-Q 3 instance in the session, including collision detection
  • Spectrum Grab: grab and adjust a peak directly in the spectrum analyzer
  • EQ Match for imposing the tonal characteristics of one signal on another
  • Piano Display switches the frequency scale to musical note values
FabFilter Pro-Q 3 is now available for EUR 149, USD 179 or GBP 134, supporting both Windows and macOS in VST and VST 3, Audio Units, AAX, and AudioSuite plug-in formats. Bundles with FabFilter Pro-Q 3 and other FabFilter plug-ins are also available at: www.fabfilter.com/shop
Existing FabFilter customers can purchase or upgrade to FabFilter Pro-Q 3 with very attractive discounts by logging into their online user account at: www.fabfilter.com/myaccount
System requirements are either Windows 10, 8, 7, Vista, or XP, and a VST 2/3 host or Pro Tools, or Mac OS X 10.8 or higher with Intel processor, and an Audio Units host, VST 2/3 host, or Pro Tools. Both 64-bit and 32-bit hosts are supported.

Akai releases mpc 2.3 with synths and more

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AKAI PROFESSIONAL EXPANDS POWER AND VERSATILITY OF MPC PLATFORM WITH RELEASE OF MPC 2.3 UPDATE
New software update enables MPC X, MPC Live and MPC Software 2 users to take advantage of three great new built-in synthesizers–TubeSynth, Bassline and Electric–and other upgrades.
Cumberland, RI USA (November 15, 2018) — Akai Professional today announced the release of MPC Software 2.3. This major software and firmware update introduces a number of user requested features and functionality enhancements, notably the addition of three powerful, versatile, and expressive built-in synthesizers by AIR Music Technology (TubeSynth, Bassline and Electric) to the MPC standalone experience. This is a landmark feature addition which elevates the MPC from a sampler to a true musical powerhouse. Also very significant is the addition of Autosampler and Arpeggiator. As a result, this update is highly recommended for all current MPC X, MPC Live and MPC Software 2 owners.

TubeSynth:
The TubeSynth emulates the sound of classic vintage analog poly-synths packaged with five integrated AIR effects. The instrument is created by AIR and is based on the same advanced analog modelling technology found in their highly acclaimed desktop plugin synth Vacuum Pro. The layout has been carefully designed for easy tweak-ability via the MPC Q-Links. The TubeSynth comes packaged with a comprehensive factory library of cutting-edge presets including sumptuous pads, hard hitting plucks, thunderous basses and screaming lead sounds.
• Flexible 3 Oscillator architecture features noise, saw, square, pulse and triangle waveforms.
• Two different unison engines offer extended possibilities for thickening the timbre of any patch.
• Users can customize the harmonic content of Oscillator 2 using the voice level EQ and Drive parameters.
• Lowpass Filter with continuously variable slope with pre and post distortion.
• Polyphonic Glide/Portamento for polyphonic pitch slides between chords.
• Envelopes included for Filter, Amp with a third specialist ramp envelope that can be assigned to different modulation destinations.
• Two LFO’s have Sine, Square, Saw Up, Saw Down, Pump, Sample and Hold and Drift waveforms.
• Explore a wide range of timbral possibilities with the Oscillator’s Ring Modulation parameter.
• AIR Chorus, Delay, Reverb, Compressor and Hype EQ.
• Almost 300 patches provide a wide selection of Synth, Lead, Pluck, Pad, Bass, Organ, FX presets.
• Oscillator 1 and 2 Env Shape parameter allows users to modulate the shape of each oscillator with the Filter Envelope

Bassline
The AIR Bassline emulates the sound of classic mono synths with a contemporary twist. Including four integrated AIR effects as well as two built-in distortion algorithms.
• Flexible oscillator with continuously variable waveshape including octave saw, saw, square and sine waveforms
• Sub and fifth oscillators for thicker layered timbres.
• Low-pass and high-pass filters.
• Over 150 presets.
Electric
The AIR Electric emulates the sound of classic electric pianos.
• Dedicated Pickup, Envelope, Bell and Noise parameter sections provide a huge amount of flexibility to configure the timbre of the electric piano sound.
• Five AIR effects Tremolo, Tube distortion, Chorus, Delay and Spring Reverb.
• Over 80 presets.

In addition to the AIR plugins. MPC 2.3 introduces many other enhancements, including:
• Autosampler – Capture and convert any plugin preset or external instrument preset into a key group sampler patch. This is great for sampling patches from synths and drum machines.
• Crossfade Looping – Realtime crossfade looping has now been added to sample playback.
• Arpeggiator – A real time arpeggiator and phrase player.
“MPC 2.3 advances the user experience in amazing new ways,” said Dan Gill, Akai Professional Product Manager. “Users will especially love the new plugins created by AIR. They definitely open up a whole new world of creative possibilities.”

This update is free for existing MPC Software 2 owners (2.0 – 2.2). MPC 2.3 is available as a new purchase for $199.99 for non-MPC product owners or as an upgrade from MPC Software 1 or MPC Essentials for $99.99.
For complete details on new features found in 2.3, visit: MPC 2.3 Release Notes.
For more information, visit akaipro.com.
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