IK Multimedia releases UNO Synth Pro and UNO Synth Pro Desktop

Posted on April 29, 2021 by flux302

IK Multimedia releases UNO Synth Pro and UNO Synth Pro Desktop

Now shipping the new paraphonic dual-filter analog synthesizersreaching new levels of sound design, flexibility and connectivity

April 29, 2021 – IK Multimedia releases UNO Synth Pro and UNO Synth Pro Desktop. Developed in collaboration with Italian boutique synth-maker Soundmachines, both these new analog synthesizers take the groundbreaking UNO Synth monophonic synth and expand it in nearly every section: more oscillators, more filters, more sequencer memory, more effects, more presets, more connections and more programmability.

UNO Synth Pro puts this amazing new sound engine in a rugged metal chassis with a 37-key semi-weighted Fatar keybed, while UNO Synth Pro Desktop provides a more portable form factor to travel anywhere.

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

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

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

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

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

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

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

Powerful presets, sequencer and arpeggiator
UNO Synth Pro offers 256 user-editable presets, each capturing the full state of the sound engine from oscillators to effects. An onboard 64-step sequencer offers both step and real-time recording, with automation of over 80 parameters, letting users create incredibly intricate and evolving soundscapes, and even write CV and gate automation. And a 10-mode arpeggiator makes it easy to create intricate patterns and runs, which can be recorded into the sequencer.

Advanced connectivity
UNO Synth Pro offers two noiseless, balanced stereo outputs as well as headphone out, for studio audio quality in any situation. USB and 5-pin DIN MIDI In and Out make it easy to integrate with other synths, Mac/PC and mobile devices, and its assignable CV/Gate connections lets UNO Synth Pro interact effortlessly with a Eurorack or other modular system. And now, an audio input allows access to the filter and FX section for external signals, in addition to the original pass-through for daisy-chaining multiple units together without using a mixer.

Options, pricing and availability
UNO Synth Pro and UNO Synth Pro Desktop are available now from the IK Multimedia online store and from IK authorized dealers worldwide for $/€649.99* and $/€399.99 respectively.

An optional USB power bank for UNO Synth Pro Desktop is available for $/€29.99.

*All pricing excluding taxes

For more information about UNO Synth Pro or to see it in action, please visit: www.unosynthpro.com and www.unosynthpro.com/video

Erica Synths Black BBD analog Delay announced

Posted on April 29, 2021 by flux302

Erica Synths Introduces Black BBD Analog Delay ModuleFeaturing two bucket-brigade delay lines, users can create multi-tap delay effects and inspired time-based modulationRiga, Latvia, April 29, 2021 — Erica Synths has unveiled its new Black BBD Eurorack module, featuring two BBD (bucket brigade delay) lines — one short (1024 stage) and one long (4096 stage). Users can seamlessly sweep between both stages with the BBD Mode knob, while controlling other parameters including Time, Feedback, LFO Rate and more. The Black BBD is one of a kind analog delay module that inspires sound design in the studio or in live performance. Both BBD stages work simultaneously and you can smoothly fade between each BBD mode, creating distinct multi-tap effect. Furthermore, an advanced BBD clock noise cancellation circuit is implemented, and this reduces unwanted BBD noise without filtering higher frequencies of the audio signal.

Most parameters on the Black BBD are voltage controlled, enabling users to integrate the module in more complex modular setups.

FEATURES:Full analogue designTwo BBD lines (1024 and 4096 stages)Smooth crossfade between BBD linesBuilt in LFOCV control over Time, Feedback and Dry/Wet mix

The new Erica Synths BBD is available now for €260 at the Erica Synths shop and at authorized dealers. For more information visit the Erica Synths website.

Nembrini Audio sends shimmers down DAWs

Posted on April 19, 2021 by flux302

Nembrini Audio sends shimmers down DAWs with out-of-this-world soundscapes- and spaces-creating Shimmer Delay Ambient Machine plug-in

PAVIA, ITALY: analogue saturation circuits digital reproduction specialist Nembrini Audio is proud to announce availability of Shimmer Delay Ambient Machine — sending shimmers down DAWs (Digital Audio Workstations) by combining reverb, pitch shifting, and feedback to create out-of-this-world soundscapes and spaces as a plug-in promoting getting lost in the creative production and electronic music facets of the ambient spectrum, drawing deeply from creative techniques developed by early-Eighties studio engineers — as of April 19…

Prominently popularised by British musician Brian Eno — effectively responsible for naming the genre itself with his 1978- released Ambient 1: Music For Airports album (comprising compositions created by layering tape loops of differing lengths, designed to be continuously looped as a sound installation with the intent of defusing the tense, anxious atmosphere of an airport), ambient music is typically thought of as a style of gentle, largely electronic instrumental music with no persistent beat, used to create or enhance a mood or atmosphere. No need (necessarily) to go anywhere near an airport terminal to work with Nembrini Audio’s self-styled ambient machine, although it is perfectly possible to achieve a truly ambient atmosphere almost anywhere since Shimmer Delay Ambient Machine is also available in an iOS-friendly form on the App Store (https://apps.apple.com/us/app/shimmer-delay-ambient-machine/id1559249944).
No need (necessarily) to work without beats when working with Shimmer Delay Ambient Machine. After all, the plug-in promotes getting lost in the creative production and electronic music facets of the ambient spectrum, drawing deeply from creative techniques developed by early-Eighties studio engineers. Equally adept at working with guitars, keyboards, synthesisers, and vocals, it combines reverb, pitch shifting, and feedback to create out-of-this-world soundscapes and spaces via an easy-to-use interface implemented as an equally easy-on-the-eye experience, emphasising user control and playability. Indeed, it is designed to be tweaked in real-time with no-nonsense controls clearly guiding the way with some self-explanatory sections acting as their helpful home — namely, IN (input level metering); SWELL (auto-volume swell commonly used with electric guitar, similar to the sound of a violin being bowed); DELAY (main delay); down OCTAVE (manages a down octave); SHIMMER (manages the shimmer effect); DRY/WET (manages the dry/wet signal blend); and OUT (output level metering). Moreover, all controls have a smoothed response to avoid clicks when changing settings or applying automation, while the highly-optimised main delay algorithm allows anyone to achieve huge delay sounds without straining their CPU (Central Processing Unit).
Ultimately, Shimmer Delay Ambient Machine more than lives up to its apt appellation — and all without straining the finances of anyone wishing to take a (purchasing) plunge into the creative production and electronic music facets of the ambient spectrum!

Shimmer Delay Ambient Machine is available for purchase (as an iLok-protected AAX-, AU-, VST2-, and VST3-supporting plug-in for macOS 10.9 or newer and Windows 7 or newer) at an attractive introductory price of only $29.00 USD until May 3, 2021 — rising thereafter to a regular price of $79.00 USD — from its dedicated webpage (https://www.nembriniaudio.com/products/shimmer-delay-ambient-machine), which also includes more in-depth information.

Flexibility further abounds as Shimmer Delay Ambient Machine is also available in AuV3 format for iOS at an introductory price of $4.99 USD until May 3, 2021 — rising thereafter to a regular price of $8.99 USD — on the App Store from here: https://apps.apple.com/us/app/shimmer-delay-ambient-machine/id1559249944
Get lost in the creative production and electronic music facets of the ambient spectrum while watching Nembrini Audio’s mellow mood-setting Shimmer Delay Ambient Machine trailer video here: https://youtu.be/xZFMkeqAIeA

Analog Solutions Leipzig v3 gets a facelift for desktop

Posted on April 6, 2021 by flux302

Download

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

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

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

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

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

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

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

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

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

Posted on March 25, 2021 by flux302

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

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

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

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

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

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

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

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

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

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

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

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

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

New Focal Alpha 50 Evo and Alpha 50 Evo:

My thoughts on the SPL Marc One Monitor and Recording Controller

Posted on February 27, 2021 by flux302

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SPL Marc One Monitor and Recording Controller Features:

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

Price $799 USD

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

New Dual stage saturation plugin Neold Big Al announced

Posted on February 3, 2021 by flux302

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

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

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

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

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

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

IK multimedia UNO PRO synths announced

Posted on January 13, 2021 by flux302

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

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

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

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

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

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

First-class analog sound
Dual state variable filters
Discrete morphing oscillators
PWM, sync, FM and ring modulation
Song mode
64-step sequencer
10-mode arpeggiator
12 studio-quality effects
Analog drive
Monophonic or 3-note paraphonic operation
256 user-editable presets

Power supply included. Desktop model powered by via USB or power bank
USB MIDI and firmware update
Programmable CV/Gate input/output
Audio input to filters, FX or pass-through
Balanced stereo outputs
5-pin MIDI DIN input/output and Soft Thru

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

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

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

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