the tapeless world

The Tapeless World is a Music Production Blog about making Music in the Digital world. With News, Tutorials, Interviews and More

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sonible presents the world’s first multitrack EQ: smart:EQ 3

sonible presents the world’s first multitrack EQ: smart:EQ 3

sonible presents the world’s first multitrack EQ: smart:EQ 3 creates spectral balance in single audio tracks and assists users in establishing transparent arrangements of multiple channels with intelligent cross-channel processing.

Achieve tonal balance with incredible speed

It only takes a single click for smart:EQ 3 to analyze any given audio track and amend spectral deficiencies, such as disturbing resonances, unwanted notches or an overall spectral imbalance. The computed smart:filter can be adapted to the user’s needs and leads to a clean, detailed sound – the ideal basis for further creative steps.

Spectral mixing via drag and drop

smart:EQ 3 also offers a group view with intelligent cross-channel processing that corrects cluttered and clashing frequency regions within a group of up to six channels. Multiple audio tracks can be arranged by the user in a sonic hierarchy of three layers. Each track is then analyzed to detect and fix masking effects. smart:EQ 3’s AI-powered algorithms utilize spectral mixing techniques that ensure each track gets its assigned space within an overall transparent arrangement.

Stay in the flow with smart:EQ 3

The EQ view, inherited from its predecessor smart:EQ 2, now sports an even leaner and more intuitive interface. Furthermore, various new features have been added to improve the user’s workflow, including filter widgets, a dynamic mode that adapts to the incoming audio signal in real time, and the option to switch between linear phase and zero latency filters.    

The driving force behind smart:EQ 3 is sonible’s now even more powerful smart:engine. This AI-based, content-aware system incorporates signal statistics, psychoacoustic principles and extensive hands-on mixing experience and can be further enhanced by applying specific profiles for distinct audio sources.

„ smart:EQ 2 was a great success. A lot of users have given us immensely valuable feedback since its release and we eagerly listened – the insights into their workflows were a great inspiration for creating a tool like smart:EQ 3. Developing highly complex features such as the cross-channel processing was a challenge, but we are convinced that the results will be incredibly helpful for any audio pro or ambitious talent out there.“ Peter Sciri, co-founder and head of development, sonible

smart:EQ 3 – key features

• smart:filter for creating spectral balance in single tracks within seconds • Cross-channel processing to establish a sonic hierarchy in a group of up to six tracks • Option to switch the smart:filter to dynamic adaption for a more consistent sound • Minimum phase and linear phase filtering for both live EQing and audio postproduction • Up to 24 standard filters to fine-tune audio tracks • Comprehensive M/S processing, multiple filter types and smart states

https://www.sonible.com/smarteq3 Regular price: € 129,- (incl. VAT) Introduction price (until September 10, 2020): € 89,- (incl. VAT)

https://www.sonible.com/smarteq3

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United Plugins announces availability of JMG Sound Expanse 3D psychoacoustic processing-based plug-in promoting super-massive-sounding music-making

United Plugins announces availability of JMG Sound Expanse 3D psychoacoustic processing-based plug-in promoting super-massive-sounding music-making

United Plugins is proud to announce availability of Expanse 3D — the latest plug-in from founding partner JMG Sound, this time taking advantage of the latest developments in psychoacoustic processing, promoting super-massive-sounding music-making by effectively exploding tracks in three different dimensions to make them sound deeper, wider, and bigger — as of May 5… It is widely accepted, flat-earthers notwithstanding, that the world is not flat — after all, the idea of a spherical Earth was first floated around by ancient Ionian Greek philosopher Pythagoras around 500 BC and validated by ancient Greek philosopher and polymath Aristotle a couple of centuries later, so why settle for flat-sounding music-making when fast-forwarding millennia to today’s DAW-driven production world? Which was exactly the thinking behind Expanse 3D, the latest plug-in from United Plugins founding partner JMG Sound, specialising in making use of complex audio processing techniques but balancing them with easy-to-use controls, as established in its previous products, Hyperspace, Transmutator, and Orbitron. Or, quite literally putting it into words, WIDTH, DEPTH, and HEIGHT (with two, three, and four associated algorithmic modes to respectively choose from), as well as the self-explanatory IN (controls the input gain with a range of -24dB to +24dB) and OUT (controls the output gain with a range of -24dB to +24dB), in the case of Expanse 3D, which applies a liberal dusting of psychoacoustic magic to achieve the three-dimensional feel focused in its appropriate appellation using a combination of analogue-type saturation, spectral phase offsetting, re-synthesis, intricate delay networks, and more, making it a perfect candidate for mixing, mastering, and sound design — duly helping to glue sounds together while creating contrast and definition between sounds in a mix.

WIDTH is an advanced spectral phase processor for creating extended width while remaining natural and transparent. Tight bass is achieved by reducing stereo from the sub while widening progressively up to higher frequencies. Furthermore, it is fully mono compatible while preserving position focus, and can generate stereo from mono. This time there are two modes to choose from — Normal and Alternate, albeit both work in much the same way but with different frequency points, and each mode has a normal and an inverted implementation. In essence, grouping elements in a mix might be better served by sharing the same mode. More commonly, different modes can be used when wishing to separate elements — such as guitar and piano, for example — so that they will not share the same frequency offsets.

DEPTH — a complex algorithm of delay networks with channel and phase processing — enhances the perception of depth and adds space. Speaking of which, this can be used to add dynamic contrast between separate sounds and glue multiple elements together for a more cohesive mix. Modes available here have different delay times in the algorithm — namely, Normal, which will work best on the majority of sounds as a default; Tight, which uses shorter delays, so will work better for percussive sounds, such as drums; and Deep, which uses larger delays resulting in a deep effect better suited to sounds with a soft attack, such as pads.

HEIGHT helps make sounds larger than life by extending out the highs and low end. Expanse 3D generates additional harmonics to deliver deeper bass and brighter treble — unlike traditional EQ that boosts existing frequencies. Furthermore, it greatly improves the perception of low frequencies on speakers less able to produce them while adding controlled power and punch to larger systems. Any audio exhibiting little low- or high-frequency content may be relatively unaffected by HEIGHT; however, this can be compensated for by extending the range of the processor with the associated Ext. Lo+Hi algorithmic mode; it stands to reason, therefore, that Ext. Lo assists audio with little bass and Ext. Hi assists audio with little treble, while — for the most part — Normal will be the best choice, especially for full mixes.

Those three dimension enhancers each implement finely-tuned saturation in their processing. By being modelled on analogue distortion, all nuances such as harmonic distribution, dynamic consistency, and non-linear randomness are captured to add beautifully rich and warm colour, assisted by anti-aliasing algorithms. All Expanse 3D processes are applied to the appropriate frequency ranges using high-quality filters causing zero phase shift with no latency, making them suitable for mastering.

Indeed, impact and energy can be greatly improved when mastering using Expanse 3D, with up to 8x oversampling providing the highest quality saturation to add analogue colour, while the additional harmonics help add clarity. As a result, the whole mix gently becomes more cohesive as the parts share a common space, all of which can be perfectly balanced while retaining the original loudness using the right-click-menu-accessed Auto gain function that measures the loudness of the input and adjusts the output to match — useful for avoiding the ‘louder sounds better’ dilemma.

Defining tracks is at Expanse 3D’s core, of course, creating contrast between musical elements by positioning them in the three-dimensional space, whether widening two sounds with one inverted to separate them, creating dynamic depth between deep and shallow sounds, or brightening sounds to make them stand out from the crowd — all helping to further define the individuality of each part that makes up a complete-, dynamic-, and full-sounding mix. Thanks to the intelligent way all JMG Sound plug-ins manage bypassing while also compensating for latency to ensure that bypass states are perfectly in sync with each other, there is no need to worry about clicks or harmful noises when Expanse 3D’s bypass parameters are automated. And just like its Hyperspace, Transmutator, and Orbitron siblings, Expanse 3D also intelligently detects whether it makes sense to perform processing at all by temporarily turning on sleep mode if no processing is required, reducing CPU (Central Processing Unit) usage to almost nothing, so saving valuable computing resources for other processes.

Promoting massive-sounding music-making with easy-to-use controls through to CPU saving... Expanse 3D does it all (and more) — with a little help from the latest developments in psychoacoustic processing. Put it this way: working with Expanse 3D on any DAW-driven production is an intelligent musical move in itself! JMG Sound’s Expanse 3D is available to purchase for a time-limited introductory promo price of only €29.00 EUR until May 31, 2021 — rising thereafter to its regular price of €99.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from United Plugins here: https://unitedplugins.com/Expanse3D/ (A 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10 can be downloaded for free from here: https://unitedplugins.com/download/)

Note that no iLok, dongle, or internet access is required for Expanse 3D activation. (All United Plugins software uses license files for activation and owners can freely use purchased software on all their computers as long as they are the user.)

See and hear Expanse 3D in action in United Plugins’ illuminating introductory video here:https://youtu.be/r2caGauuYsI 

https://unitedplugins.com/Expanse3D/

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Nembrini Audio models notable Nineties-vintage guitar overdrive pedal as free Clon Minotaur Transparent Overdrive plug-in

Nembrini Audio models ‘transparent’ tone of notable Nineties-vintage guitar overdrive pedal as free Clon Minotaur Transparent Overdrive plug-in

Nembrini Audio is proud to announce availability of Clon Minotaur Transparent Overdrive — magnanimously modeling the ‘transparent’ tone of the highly-collectable Klon Centaur* guitar overdrive pedal, which was hand- built between 1994 and 2009 before becoming preposterously priced, post-discontinuation — as a free effect plug-in as of May 4… Hand-built by Bill Finnegan in relatively limited numbers, the original Klon Centaur* guitar overdrive pedal found favour with a number of notable guitarists attracted to its ‘transparent’ tone — an ability to add gain to the signal without significantly altering the tone of the guitar, in other words, which has been modeled in Clon Minotaur Transparent Overdrive, offered for free by Nembrini Audio as an effect plug-in (and also available for free in an iOS-friendly form on the App Store: https://apps.apple.com/us/app/clon-minotaur-overdrive/id1562822809). Duly depending on the settings of its GAIN, TREBLE, and OUTPUT control knobs — closely following in the footsteps of the highly-collectable hardware from which it takes its inspiration, Clon Minotaur Transparent Overdrive often acts as a clean boost by adding volume and minimal coloring to the sound, which, in turn, can be used to drive the input valve stage of the virtual amplifier to produce the distorted characteristics of an overdriven guitar amp. As such, Clon Minotaur Transparent Overdrive controls can be set to distort the sound signal in the plug-in, where two modeled germanium diodes can perform waveform clipping with the GAIN parameter controlling the balance between the diode clipping stage and the clean stage. Thereafter, the two signals are summed together before interacting with the TREBLE and OUTPUT (volume) controls. Conversely, Clon Minotaur Transparent Overdrive’s magnanimously modeled approach to the ‘pricing parameter’ far from closely follows in the footsteps of the highly-collectable hardware from which it takes its inspiration — after all, original Klon Centaur* guitar overdrives often fetch four-figure sums in today’s highly-competitive second-hand marketplace — making it a no-brainer for anyone interested in its (meticulously modeled) sound! * Please note that all marks and models are all trademarks of their respective owners, which are in no way associated or affiliated with Nembrini Audio.These marks and names are used solely for the purpose of describing certain tones produced using Nembrini Audio’s modeling technology. Clon Minotaur Transparent Overdrive is available for free (as an AAX-, AU-, VST2-, and VST3-supporting plug-in for macOS 10.9 or newer and Windows 7 or newer with no iLok required) from its dedicated webpage (https://www.nembriniaudio.com/products/clon-minotaur-transparent-overdrive), which also includes more in-depth info.

Flexibility further abounds as Clon Minotaur Transparent Overdrive is also available in AuV3 format for iOS for free on the App Store from here: https://apps.apple.com/us/app/clon-minotaur-overdrive/id1562822809

Take a quick (over) drive thru the ‘transparent’ tone of Clon Minotaur Transparent Overdrive in Nembrini Audio’s introductory video here: https://youtu.be/Gn6yXcAciEw

https://www.nembriniaudio.com/products/clon-minotaur-transparent-overdrive

[thetapelessworld]

Rob Papen puts out DelSane virtual stereo delay effect plug-in with disruptive split-personality-styled behaviour

Rob Papen puts out DelSane virtual stereo delay effect plug-in with disruptive split-personality-styled behaviour

Rob Papen Inspiration Soundware is proud to announce availability of DelSane — deviating down an appropriately-named virtual effect plug-in pathway as a stereo delay with ‘Dr. Jekyll and Mr. Hyde’ behaviour by swinging between an easy-to-use, lovely-sounding ‘sane’ stereo tape delay and dynamically-changing disruptive ‘insane’ delay types

As an appropriately-named effect plug-in with a ‘Dr. Jekyll and Mr. Hyde’ behavioural disorder, DelSane makes musical sense when viewed from Rob Papen’s perspective, positioned this way: while it is true that the abundance of delay effects already out there sometimes seems like trying to count the number of stars in the Milky Way, which can be overwhelming, DelSane was duly designed as a way of staying sane when navigating increasingly-insane modern music production waters as an easy-to-use, lovely-sounding stereo tape delay plug-in. Perversely, perhaps, it could be considered insane if Rob Papen’s latest product did not offer something special, as is the Dutch virtual synthesizer, instrument, and effect plug-in developer’s modus operandi. On the face of it, then, it is called DelSane since it is possible to imagine dropping ‘Del’ in favour of ‘In’ as insane-sounding delay types can also be created!

Central to the insanely creative DelSane is its eye-catching DISRUPT spherical slider. Since said slider is connected to the various delay parameters, it is possible to change multiple parameters in a dynamic way when moved. It is also Spring featured, so can be made to spring back into the Center position in a tempo-based manner, making for very dynamically-changing disruptive ‘insane’ delay types — and all without recording innumerable parameters, paralleling trying to count those Milky Way stars!

So think of DelSane as a two-sided — split-personality-style — concept with the first (sane) side being a smooth-sounding tape delay that can be easily used as a stereo or mono delay and the second (insane) side acting as a creative conduit to thinking out of the box with delay effects. Either way, DelSane it surely set to become a go-to delay plug-in perfectly suited to any music production, thanks to its easy-to-understand layout presented as an easy-on-the eye GUI (Graphical User Interface) that is resizable from 100% to 200% in four incremental steps.

Further features well worth highlighting here include a cool EQUAL FEEDBACK function — providing the STEREO DELAY with an equally smooth left and right feedback tail; DISTORT — adding a bit of a distorted edge to the delayed sound; and FREQ SHIFT — alienating the delayed sound still further.

Easing the delayed sound’s passage into modern music production waters — whether sane or otherwise — while avoiding any muscle pain in the process, activating the LAZY MODE automates the movement of the DISRUPT spherical slider in different directions, duly allowing for the creation of chorus, flanger, or new types of modulation effects, while an AUDIO FOLLOWER function facilitates influencing various delay parameters — including the DISRUPT spherical slider itself! Meanwhile, MIDI & MOD makes for further flexibility when it comes to influencing those various delay parameters. So ‘sanity’ and ‘insanity' is available in abundance when working with DelSane — so much so that Dr. Jekyll and Mr. Hyde would surely approve... if involved in modern music production! DelSane is available as a 64-bit AAX-, AU-, and VST-compatible effect plug-in for Mac (OS X 10.12 - macOS 11) and as a 32- and 64-bit VST- compatible effect plug-in for PC (Windows 7/8/10) — with 64-bit AAX compatibility available for PT 12 or higher (PC) — at a time-limited introductory promo price of €29.00 EUR/$29.00 USD until May 15, 2021 — rising thereafter to an MAP (Minimum Advertised Price) of €35.00 EUR/ $35.00 USD — from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen itself for the same pricing from here: https://www.robpapen.com/DelSane.html While DelSane is not included in the latest version of the eXplorer 6 bundle (https://www.robpapen.com/eXplorer-6.html), Rob Papen is offering DelSane for free to anyone that purchases — or upgrades to — eXplorer 6 between now and May 31, 2021.

A 30-day demo version of DelSane with only one introductory sound bank and all bank and preset loading/saving functionality duly disabled is available from here: https://www.robpapen.com/DelSane-Demo.html

For more in-depth information, please visit the dedicated DelSane webpage here: https://www.robpapen.com/DelSane.html

Watch the revealing Rob Papen DelSane introductory video with Rob Papen himself here: https://youtu.be/PRsewHth7y4

https://www.robpapen.com/DelSane.html 

[thetapelessworld]

Applied Acoustics Systems releases the brand-new Multiphonics CV-1 modular synthesizer plug-in

Applied Acoustics Systems releases the brand-new Multiphonics CV-1 modular synthesizer plug-in

Applied Acoustics Systems announces today the release of the Multiphonics CV-1 modular synthesizer for macOS and Windows—a brand new space for exploration, experimentation, creation, learning, and fun. Dive into the mind-bending world of modular synthesis with Multiphonics CV-1, a powerful platform for assembling and playing patches. With a simple and straightforward interface, Multiphonics is a fast and efficient creation tool for musicians and sound designers. It is also a great learning environment for newcomers. Multiphonics ships with a comprehensive library of modules, from the basics to unique and sophisticated originals, and a vast and inspiring library of patches crafted by top sound designers.

“We are thrilled to be back in the world of modular synthesis, a return to our first love!” says Benoit Charland, lead product designer at Applied Acoustics Systems. “Multiphonics was built from the ground up and developed with patching flexibility in mind. We took great care in making sure the modules were thought-out and designed to work together in an optimal manner providing a coherent patching experience. We also wanted all functionalities to be directly accessible from the interface in order to make the creation of patches and the realization of musical ideas as fast and playful as possible.”

Key features of Multiphonics CV-1 include:

Straightforward interface

Easy synchronisation in a DAW

Direct access to MIDI control and expression signals

High-level control with Macro parameters

Plenty of modulation options

Library of top-notch modules

Vast library of patches by renowned artists

Thorough documentation and tutorial series

Standalone and plug-in version

Multiphonics CV-1 modular synthesizer

https://www.applied-acoustics.com/multiphonics-cv-1/

Multiphonics CV-1 runs on both macOS and Windows in 64-bit host sequencers that support the VST2, VST3, Audio Units, and AAX Native formats.

Multiphonics CV-1 is available now at a suggested retail price of US$99.

Special Introductory Pricing Until June 22, 2021, Multiphonics CV-1 is offered at the special introductory price of US$79. About Applied Acoustics Systems Applied Acoustics Systems (AAS) was founded in 1998 and is based in Montreal, Quebec, Canada. As a privately-held company, it specializes in software-based synthesis tools for professional musicians and sound designers. Since releasing Tassman, the first virtual instrument based on physical modeling, AAS has come to be recognized as the industry leader in this exciting new field of synthesis.

https://www.applied-acoustics.com/multiphonics-cv-1/

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Arturia introduce evolution of cutting-edge softsynth: Pigments 3

Arturia introduce evolution of cutting-edge softsynth: Pigments 3

Arturia introduce evolution of cutting-edge softsynth: Pigments 3 The polychrome synthesizer has evolved into a state-of-the-art instrument that spans every shade of synthesis. Pigments 3 introduces the boundless power of additive synthesis, an impressive utility engine with sub oscillator and dual noise sample players, the iconic filter from Jup-8 V, 4 incredible new FX including a multiband compressor, and so much more. Combined with unparalleled DSP performance, a revamped audio routing system, and its signature vibrant visual workflow, Pigments 3 sets the new softsynth standard; a producer’s playground, a composer’s workhorse, and a sound designer’s dream. To introduce the latest colorful edition of Pigments, Arturia is presenting a selection of generous introductory offers, including an exclusive & essential pack of 5 sound banks built to make the most of Pigments 3’s unique palette. New in Pigments 3 Harmonic engine - detailed additive synthesis with up to 512 partials, dual formant filters that can be morphed from A to B, odd and even harmonic customization, and various colorful ways to modulate partials 3rd Utility engine - add an extra oscillator layer and up to 2 noise sample layers to Pigments’ dual-engine sound for extra depth and sonic color 64 new wavetables, bringing the total to 164 Ramp waveform, for Virtual Analog engine Jup-8 V4 Low-pass filter - the revered filter from our meticulous emulation of a polysynth icon Enhanced filter routing - route either filter to either FX bus for detailed sound Pitch Delay - a clean, modern algorithm for creating exciting pitch-shifting ambience Multi-Band Compressor - a much-requested tool for creating a tight mix-ready sound without ever leaving Pigments BL-20 Flanger - a faithful reimagining of an elusive analog studio effect Chorus JUN-6 - one-touch analog sparkle and stereo fatness, taken from our faithful Juno-6 emulation Expertly-crafted new presets by world-class sound designers Enhanced in-app tutorials from the product designers The Spectrum Sound Pack Paint your mix with Pigments 3’s unique palette The limited-edition Spectrum Sound Pack combines 5 unique sound banks, each including 100 presets, designed to exhibit Pigments 3’s vibrant features, from the new Harmonic Engine to the analog charm of the Jup-8 V filter. Introduction deal until May 13th 2021 Celebrate the launch of Pigments 3 with generous introductory offers and exclusive sounds for new and existing users alike. For existing Pigments users, this update is free of charge. You’ll also be able to get the exclusive Spectrum Sound Pack for 19,99€/$ (worth 99€/$), for a limited time. For new Pigments users, the latest version is available to buy with a 50% saving at 99€/$ (worth 199€/$), with the Spectrum Sound Pack included at no additional cost (worth 99€/$). Registered Arturia customers will be eligible for a personal introductory offer, and can simply login to redeem. Intro offers end on May 13, 2021.

https://www.arturia.com/products/analog-classics/pigments#en

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Spitfire Audio completes blockbuster symphonic anthology as SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL at AIR Studios spiritual home

Spitfire Audio completes blockbuster symphonic anthology as SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL at AIR Studios spiritual home

SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL — returning to where it all began by completing its definitive anthology that provides the tools to create blockbuster symphonic works for film, games, and television with additional choice and control above and beyond the musically matured four-year-old original SPITFIRE SYMPHONY ORCHESTRA release recorded in the hallowed (Lyndhurst) Hall at London’s legendary AIR Studios, supplemented with (up to) eight microphone positions capturing strings, brass, and woodwinds warm embrace with that room’s reverberative lushness like no other, together with three expertly engineered mixes by the award-winning Jake Jackson to create an exhaustively-sampled single package extended in both name and execution, effectively bursting with an encyclopaedic offering of techniques that is surely set to prove popular as another standout collection of libraries loved by many professional composers, comfortably priced to readily represent a 50%-plus saving over purchasing its included libraries individually

An appreciation of why AIR Studios’ Lyndhurst Hall has found favour in film scoring circles will, without doubt, help foster an appreciation of what went into making SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL what it is and why it is that Spitfire Audio makes sounds for film composers. Company co-founder and composer Paul Thomson is perfectly positioned to lend a helping hand in making that musical connection, clarifying why the fabric of Lyndhurst Hall is woven so tightly throughout the sound- specialising British music technology company’s completed blockbuster symphonic anthology with more techniques therein than any of its other libraries: “Architecturally unique, the acoustic properties of the interior of AIR Lyndhurst Hall were spotted by Sir George Martin, and he created a recording studio in this location that has been the destination of choice for film composers from all over the world for many years. Many of your favourite scores will have been recorded in this beautiful room. Players love playing in this room because of the acoustic feedback that they get from the surroundings. There is a gentle reverberation in the room that just adds beauty to literally anything you play in there. It could be a single instrument, or it could be a small chamber group that expands and blooms inside the space. When you have a full orchestra going in there, such as on How to Train Your Dragon by John Powell, you get the most enormous, epic, thunderous, colourful sound. It’s a very beautiful acoustic space.”

By building upon the core SPITFIRE SYMPHONIC STRINGS sample library that was initially individually available as of 2016 before becoming part of the SPITFIRE SYMPHONY ORCHESTRA anthology a little later, SPITFIRE SYMPHONIC STRINGS PROFESSIONAL — produced with 60 of the world’s finest strings players performing over 175 articulations, including 59 shorts and 94 longs, captured in situ courtesy of AIR Studios’ signal path par excellence featuring priceless valve and ribbon microphones, Neve ‘AIR Monserrat’ preamps feeding a Neve 88R large-format console, and recorded digitally at 96kHz via two-inch Studer tape, before being presented as individual sections and ensembles with multiple layers and round robins, not forgetting five legato patches programmed by British film composer Andrew Blaney — is included in SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL as a new professional-level library packed with 152 GB of additional content, featuring Fine, Medium, and Broad curated mixes by award-winning engineer Jake Jackson to offer an immediate and recognisable blockbuster sound. Such mix perspectives, crafted using single voices per note for low CPU (Central Processing Unit)/RAM (Random Access Memory) usage, are indispensable for realising readymade mixes that work across the entire orchestra. Of course, it is perfectly possible to create custom mixes using the 11 signals featuring eight classic microphone positions providing a diverse range of palettes from a single room, including four alternative (ALT) microphone signals — namely, a microphone placed close to the leader of each section (L), warm close ribbon (Cr), close stereo pair (St), and spacious gallery (G), as well as adding outrigger signals to the common close tree ambient (CTA), creating CTAO for facilitating access to the classic Spitfire Audio setup. Says Paul Thomson: “I’m often asked, ‘What are outriggers?’ They are a kind of sideways extension of the Decca Tree that stands just behind where the conductor stands, above the conductor’s head — three microphones that capture the whole soundstage of the full orchestra. Many engineers will add the outriggers to the Decca Tree as a matter of course, but we’ve kept them separate here because it’s sometimes one of those things that you want to add to taste.”

Equally extended is SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL’s included SPITFIRE SYMPHONIC BRASS PROFESSIONAL library, tastefully formed from the 2016- released SPITFIRE SYMPHONIC BRASS — created using AIR Studios’ signal path at Lyndhurst Hall with the world’s finest brass players — with 173 GB of additional content, 10 signals featuring seven microphone positions, and also featuring Fine, Medium, and Broad curated mixes by Jake Jackson to offer an immediate and recognisable blockbuster sound suited to those looking to creatively channel their inner John Williams or Hans Zimmer zeal. Similarly, SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL’s also-included SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL library — leaning on the world’s finest woodwind players, presented with essential and versatile microphone positions — brings a new level of customisation to bear upon the also-still-available SPITFIRE SYMPHONIC WOODWINDS which first saw the light of day in 2016, thanks to 167 GB of extra content, 10 signals featuring seven microphone positions, plus Fine, Medium, and Broad curated mixes by Jake Jackson to offer every articulation for every ensemble and section in a single encyclopaedic compendium. Clearly, working with real-world woodwinds can afford composers — film scoring or otherwise — the luxury of reaching deep down into the lowest of lows wherever and whenever deemed appropriate, an attribute that has been enhanced still further when working, for example, with SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL’s thunderous ContraBassoon (CTAO) patch. Posits Paul Thomson: “When we go right down to the bottom B-flat, that really resonates the room when the player plays loud — like a kind of amp signal, or something like that. It really is a fantastic effect, lower than the string basses can go — even with the C extension; the ContraBass Clarinet and the ContraBassoon can get you a whole tone lower.”

Lending further flexibility for those seeking a chamber strings-led sound, as opposed to SPITFIRE SYMPHONIC STRINGS PROFESSIONAL’s sizeable — 16 1st violins-, 14 2nd violins-, 12 violas-, 10 cellos-, and eight basses-based — symphonic string section, the simultaneously-released SPITFIRE SYMPHONY ORCHESTRA CHAMBER STRINGS EDITION PROFESSIONAL package pairs SPITFIRE SYMPHONIC BRASS PROFESSIONAL and SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL perfectly with SPITFIRE CHAMBER STRINGS PROFESSIONAL, hitherto only available on its own as of 2018. An appropriately affecting closing commentary aimed at potential SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL purchasers comes courtesy of an understandably proud Paul Thomson: “The room is bound to the sound of the players; the players respond to the room; the instruments vibrate in sympathy with the room. It’s really one wonderful, virtuous circle. And when you’re after this epic scoring sound, the room that you record in has such an enormous effect on the end result, so a no- expense-spared production with the same players playing through the same mics, the same preamps, and same desk through onto tape will get you the sound of The Crown, The Dark Knight, and Gladiator. If that’s the film score sound that you want then this is absolutely the collection for you.” SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL — comprising SPITFIRE SYMPHONIC STRINGS PROFESSIONAL, SPITFIRE SYMPHONIC BRASS PROFESSIONAL, and SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL — can be purchased at an RRP (Recommended Retail Price) of £1,299.00 GBP (inc. VAT)/$1,499.00 USD/ €1,499.00 EUR (inc. VAT) — representing a 50%-plus saving over purchasing all of those titles individually at their respective full pricing — from here: https://www.spitfireaudio.com/shop/a-z/spitfire-symphony-orchestra-professional/ SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL needs Native Instruments’ KONTAKT PLAYER (5.6.8 or higher) — a free version of the KONTAKT sample playback engine (included in its purchase) — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

SPITFIRE SYMPHONIC STRINGS PROFESSIONAL, SPITFIRE SYMPHONIC BRASS PROFESSIONAL, and SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL can be individually purchased at time-limited introductory promo pricing of only £599.00 GBP (inc. VAT)/$659.00 USD/€659.00 EUR (inc. VAT), £539.00 GBP (inc. VAT)/$599.00 USD/€599.00 EUR (inc. VAT), and £479.00 GBP (inc. VAT)/$539.00 USD/€539.00 EUR (inc. VAT), respectively, until May 30, 2021 — respectively rising thereafter to an RRP of £999.00 GBP (inc. VAT)/$1,099.00 USD/€1,099.00 EUR (inc. VAT), £899.00 GBP (inc. VAT)/ $999.00 USD/€999.00 EUR (inc. VAT), and £799.00 GBP (inc. VAT)/$899.00 USD/€899.00 EUR (inc. VAT) — from here:https://www.spitfireaudio.com/shop/a-z/spitfire-symphonic-strings-professional/https://www.spitfireaudio.com/shop/a-z/spitfire-symphonic-brass-professional/https://www.spitfireaudio.com/shop/a-z/spitfire-symphonic-woodwinds-professional/

SPITFIRE SYMPHONY ORCHESTRA CHAMBER STRINGS EDITION PROFESSIONAL — comprising SPITFIRE CHAMBER STRINGS PROFESSIONAL, SPITFIRE SYMPHONIC BRASS PROFESSIONAL, and SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL — can be purchased at an RRP of £1,299.00 GBP (inc. VAT)/ $1,499.00 USD/€1,499.00 EUR (inc. VAT) — representing a 50% saving over purchasing those titles individually at their respective full pricing — from here: https://www.spitfireaudio.com/shop/a-z/sso-chamber-strings-edition-professional/

SYMPHONY COMPLETE PROFESSIONAL — the full symphonic package comprising SPITFIRE SYMPHONIC STRINGS PROFESSIONAL, SPITFIRE SYMPHONIC BRASS PROFESSIONAL, and SPITFIRE SYMPHONIC WOODWINDS PROFESSIONAL paired with MASSE, SPITFIRE HARP, ORCHESTRAL GRAND PIANO, and SPITFIRE PERCUSSION — can be purchased at an RRP of £1,799.00 GBP (inc. VAT)/$1,999.00 USD/€1,999.00 EUR (inc. VAT) from here: https://www.spitfireaudio.com/shop/a-z/symphony-complete-professional/

Watch the SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL premiere with Spitfire Audio co-founders Christian Henson and Paul Thomson here: https://youtu.be/h-YdkRVEPNM Watch Spitfire Audio co-founder and composer Paul Thomson’s ‘traditional’ walkthrough of SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL here: https://youtu.be/ozI_2uMALbM

Musically marvel at Lyndhurst Hall — hallowed home to blockbuster film scoring in London’s legendary AIR Studios — while watching the superbly-scored SPITFIRE SYMPHONY ORCHESTRA PROFESSIONAL trailer video here: https://youtu.be/Fecg2JogfzY

https://www.spitfireaudio.com/spitfire-symphony-orchestra/

[thetapelessworld]

Fuse Audio Labs turns to two iconic guitar pedals to deliver DOZER DRIVE as a plugin-powered fusion

Fuse Audio Labs turns to two iconic guitar pedals to deliver DOZER DRIVE as a plugin-powered fusion

Fuse Audio Labs is proud to announce availability of its DOZER DRIVE plugin — powering a flexible fusion of two of the most iconic guitar pedals of all time as an authentic-sounding single-entity emulation encompassing fuzz, overdrive, and distortion

Readily ranging from subtle boosts to the point of saturation-driven seventh heaven, DOZER DRIVE is musically modeled on a legendary circular fuzz from 1966 and a 1979-vintage monstrous little green overdrive. On one side, its FUZZ channel covers all bases for creating classic dirty sounds; SCREAMER, on the other hand, hits a home run when it comes to delivering the typical mid-pronounced tone that became the industry-standard overdrive of choice. Creatively, DOZER DRIVE offers flexible channel routing for those that like to tweak — SCREAMER after FUZZ, FUZZ after SCREAMER, or both in PARALLEL.

The FUZZ channel provides an NPN vs. PNP switch that lets users choose between the typical clipping characteristics of silicone and germanium transistors, as well as a switchable DOOM MOD for conjuring up ultimate grind, while the SCREAMER channel’s FAT MOD switch shifts the mid-focused tone towards a much stronger bottom end. Finally, the MIX controller allows for fine-tuning the fuzz/overdrive ratio in PARALLEL MODE. “Whether you want to sound like Jimi or Stevie Ray, or prefer to find your own perfect tone, DOZER DRIVE will become your best friend,” says Fuse Audio Labs CEO Reimund Dratwa. “It’s super versatile, yet only takes a few seconds to dial in amazing drive sounds for your guitar — or other instruments, if you dare! Dive into classic tones, tweak them to your heart’s content, and make them your own.” Created in collaboration with Honest Amp Sim Reviews, DOZER DRIVE is available at an attractive price of only $19.00 USD directly from its dedicated webpage (https://fuseaudiolabs.com/dozerdrive.html) on the Fuse Audio Labs website, which includes more in-depth information. Note that 14-day trial versions of all Fuse Audio Labs plugins without any restrictions are also available to download for free from here: https://fuseaudiolabs.com/plugins.html  

[thetapelessworld]

XILS-lab creates KaoX a virtual instrument inspired by legendary FM synthesizer

XILS-lab creates KaoX a virtual instrument inspired by legendary FM synthesizer

XILS-lab is proud to announce availability of KaoX — a virtual instrument inspired by a legendary FM (Frequency Modulation) synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather

To appreciate its iconic inspiration is to truly appreciate the power of KaoX, XILS-lab’s latest virtual instrument. Indeed, the early-Eighties synthesizer market was dominated by analogue synthesizers using analogue circuits and analogue signals to generate sounds electronically, which, when made available as programmable polysynths with patch storage, were costly with limited polyphony. Putting paid to that dominance, an Eighties-dominating 16-voice FM synthesizer changed course — changing the course of musical history in the process — by generating sounds via frequency modulation, a form of sound synthesis whereby the frequency of a waveform is changed by modulating its frequency with a modulator. Mass manufactured using very-large- scale integration chips by a Japanese giant of a company who had licensed the technology from Stanford University, California — composer, musician, and professor John Chowning developed the digital implementation of FM synthesis while there, the world’s first commercially-successful digital synthesizer subsequently sold over 200,000 units within three years — around 20 times more than the most iconic analogue synthesizer of all time sold in its impressive decade-long lifespan — and its preset sounds soon became staples of the Eighties pop pantheon with E PIANO 1 purportedly ending up on 40% of the US Billboard Hot 100 chart toppers throughout 1986. Therein lay the rub. Really complex menus and a lack of conventional controls meant that few learned to program the comparatively keenly-priced instrument in depth — despite FM synthesis lending itself to creating brighter, glassier sounds, as well as imitative acoustic sounds so much better than its instantly unfashionable analogue adversaries, programmable polyphonic or otherwise. Of course, fashions change with time and technology; the instrument in question has long since fallen out of favour. Although analogue synthesizers — somewhat ironically — are now more commonplace than they ever were with a perceived warmth of sound and appealing hands-on control working in their favour, the convenience of an ITB (in the box) workflow with DAW-driven virtual instruments and effect plug-ins has far from lost its appeal for today’s music-making masses. Time to revisit the wonderful world of FM synthesis with a modern-day twist? Knowingly, KaoX does just that. After all, as a virtual instrument- and effect plug-in-specialising software company, XILS-lab loves to create tools that inspire its users to create more imaginative music than they ever dreamed possible!

Put it this way: with KaoX, XILS-lab has created a virtual instrument inspired by that legendary FM synthesizer, albeit bolstered by virtual analogue sound synthesis and additional chaotic algorithms in an advanced two-layer architecture allowing for a powerful sound creation tool to fuel DAW-driven synthesizer dreams with a much more easily understood signal path than its iconic FM forefather since said signal path is easily understood through the use of illuminated modules in a GUI (Graphical User Interface) that is equally easy on the eye. KaoX’s knowing nod towards the preset-powered popularity of its iconic FM forefather is immediately obvious for all to see and hear in an easy-to-tweak simplified view allowing its UP (upper) and LO (lower) synthesizer layers — each with independent synthesis modules — to be combined in three different ways. Working in single mode, only the selected layer is active and heard, while both layers are active and heard in SPLIT and DOUBLE modes — the lower part of the keyboard playing the LO layer and the upper part of the keyboard playing the UP layer in the case of the former, while both the UP and LO layers are simultaneously played across the keyboard in the case of the latter. Limited controls are available in this simplified view, including TUNE, DRIFT, GLIDE, VIBRATO, FREQ (vibrato frequency), DEPTH (vibrato), W (wheel), TREMOLO, FREQ (tremolo frequency), and DEPTH (tremolo), plus CHORUS, DELAY, PHASER, and REVERB effects, enabling users to easily play presets and to tweak them accordingly — adding vibrato and tremolo or switching effects on and off, for instance.

Alternatively, activating an advanced settings view brings the wonderful world of KaoX into full view, allowing more adventurous users access to the virtual instrument’s internal modules to tweak or change any parameter therein, aided by contextual help windows, while active modules are helpfully illuminated. FM synthesis options are available on each of the two available layers with eight operators grouped in two banks with independent pitch — perfect for creating chorus-like FM sounds or punchy stereo patches — and two outputs (O1 and O2). Each FM OPERATOR features one LFO (Low Frequency Oscillator), one envelope, WHEEL and VEL (velocity aftertouch) access, two user-definable external modulators (assignable to any KaoX modulation source), KEYB (keyboard follower) 2D pad, RATIO or FIXED frequency selection, and a lowpass filter. Furthermore, virtual analogue synthesis options are also available on each of the two available layers with two continuous waveform analogue oscillators (ANALOG OSCILLATOR 1 and ANALOG OSCILLATOR 2), two zero-delay-like analogue filters (FILTER 1 and FILTER 2), four D-ADSR envelopes, and four VCA outputs for bringing a depth and warmth to the sound creation table. That said, KaoX also allows its users to create sounds that they had never thought possible, thanks to two chaotic oscillators (CHAOS OSCILLATOR 1 and CHAOS OSCILLATOR 2) and two chaotic ring modulators (CHAOX 1 and CHAOX 2). And as if that was not enough to keep committed sound creators seriously satisfied, KaoX comes complete with a flexible four-track step SEQUENCER, where each track can be assigned to the UP or LO layer with independent sustain and gating or used as a modulation source. Sound-wise, KaoX comes packed with 500-plus presets programmed by world-class sound designers Mikael Adle, Soundsdivine, Status, Nori Ubukata, Tom Wolfe, Xenos, Yuli-Yolo, Zensound, and many more — more than enough to point anyone of any ability in the general direction of where they might musically want to go. Getting there is made much easier with its integrated single-window preset manager making finding the right patch for the task, managing presets and sound banks, as well as creating custom tags, an efficient easy-going experience that could barely be dreamt of back in the early Eighties. Today the time has clearly come to revisit the wonderful world of FM synthesis with a modern-day twist and appreciate the power of KaoX, XILS- lab’s latest virtual instrument par excellence — from France with love... and all without the need for very-large-scale integration chip mass manufacture! KaoX is available to purchase as an iLok (2 and 3 dongle hardware or software) protected plug-in priced at an introductory promo price of €99.00 EUR until May 15, 2021 — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of €179.00 EUR — directly from XILS-lab via the dedicated KaoX webpage (https://www.xils-lab.com/products/kaox-p-168.html), which also includes more in-depth information. KaoX can be directly downloaded as a multi-format AAX, AU, and VST (Mac OS X 10.8 and later) and AAX and VST (Windows 7, 8, and 10) plug-in from here: https://www.xils-lab.com/products/kaox-p-168/download.html Listen to several KaoS-showcasing demo tracks providing the soundtrack to XILS-labs’ latest teaser video here: https://youtu.be/qeZJvGe6a4Y

https://www.xils-lab.com/products/kaox-p-168.html

[thetapelessworld]

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

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

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

https://www.nembriniaudio.com/products/shimmer-delay-ambient-machine 

[thetapelessworld]

Tracktion Launches Hyperion Plugin

Tracktion Launches Hyperion Plugin 

Tracktion Corporation is proud to present Hyperion, an inspirational, multi-layer, modular synthesizer, designed and coded by Paul Carter AKA Wavesequencer. See launch video here.   A child of the eighties, developer Paul Carter, took his inspiration for Hyperion from electronic music artists like Vangelis, Jean-Michel Jarre and Brian Eno. His years of experience in both firmware and applications for consumer electronic products, plus his passion for sound synthesis and music, combine to make Hyperion a contemporary digital modular masterpiece.   Hyperion is a powerful VST3/AU plugin for both Windows and Mac. Designed from the beginning for sonic flexibility, it has easy to follow, efficient modular processing which is capable of up to ten layers of complex sound patches. It features a wide variety of synthesis types, adaptable patching, pitch bend ranges, tuning, arpeggiator and individual per-layer effects. Hyperion also contains multiple kinds of filters, distortions and buss effects as well as logic and math nodes for generative patch design. Check out the Patch demo here.   The unlimited sound processing elements of Hyperion offer all the warmth and emotion associated with analogue in an infinite design playground. It has a huge array of surgical controls and data generation options and the ability to quickly layer and split polyphonic modular patches. All in all an instant source of musical inspiration for music producers of all genres. 

Inspirational Multi-layer Modular

An unlimited sound design playground inspired by 80’s legends such as Vangelis, Jean-Michel Jarre and Brian Eno, Hyperion is a contemporary digital modular masterpiece.

Deeply Capable Yet Instantly Approachable

Hyperion synth has been designed from the outset with sonic flexibility in mind whilst keeping modular patching approachable and easy to follow.

Efficient processing enables up to 10 layers of complex sound patches which can be affected in unison by macro controls, but which can also send modulation data and aux buss audio between each other.

The ability to quickly layer and split polyphonic modular patches using a wide variety of synthesis methods and with individual chord, arpeggiation and bus effects per layer is an instant source of musical inspiration for music producers of all genres.

Multi-layer sound designs can be saved and recalled as “combi” patches. Patch browsing with categories and author filters as well as quick folder switching enables fast retrieval of sounds.

Surgical Control

Hyperion features per-layer note handling options enabling layer specific polyphony, pitch bend range, portamento speed, pitch randomization and drift depths, custom pitch slope (positive or negative), mono-phonic re-trig option, and voice trigger options.

Unlimited number of nodes per layer – and up to 16 mixable modulation sources per target modulation input pin.

Animated data modulation mix per-voice data bar and data-scope trace views, and in graph per voice text value and per-voice-data scope trace viewer nodes help to make complex patch designs easier to understand and adjust.

Multiple Synthesis Types

Classic mono and stereo “digital” and “virtual analog” oscillators with mono or stereo unison detuning and wave-shaping which enables drastic sonic character changes from the basic wave-forms.

Easy to use 4 operator FM (phase modulation with feedback) with 12 algorithms & multi-operator output mix, pre-selected list of useful modulation-operator ratios and master modulation depth control.

Wave-sequencing oscillators with up to 32 steps of oscillator configuration (including pitch offset, waveform, wave-shape depth, unison detunes, balance and level) with smooth cross fading via wave-sequence position modulation – save your own, and load ready made sequences.

Wave-sequenced 4 operator FM – with the same features as classic oscillator wave-sequencing but enabling sequences of 4 operator FM configurations (also with save and load capability).

Plucked string model with damping, distortion and stereo unison detunes.

Physical modeling flute oscillator with smooth note/pipe configuration transitions.

Sample playback with looping – can loop single cycle waveforms to create custom oscillator tones.

Multi-sample (sound font) oscillator enabling import of sfz/sf2 files.

Inspirational Sound Processing

Per voice processing:

Multiple filter types including low/high/band/notch with cutoff & resonance, slope/depth, stereo offset and saturation control.

Distortion, Tube resonator, Ring modulator, Bit-Crusher.

Suite of true-stereo buss effects including:

3 Reverb types: Medium, Large (with modulation and pre-delay), and Huge – all with size, damping, tone, and width controls.

Chorus, Flanger, Tremolo.

Stereo filter – with the full range of filter types.

Distortion/EQ’d-distortion.

3 Band EQ.

Tube Resonator, Ring mod, Bit-Crusher, Pitch shifter.

Stereo echo with cross feedback, L/R delay offset and damping controls.

Granulator (full range of emission rate/size/window/playback speed/mix controls).

FX bus send and receive (cross layer).

Huge Range of Control and Data Generation Options

ADSR with pre-delay and multiple triggering options, looping envelope, LFOs with one-shot mode, beat sync and start phase control.

Macro data receive and sending (affecting all layers concurrently).

MIDI data/note sending and receiving on selected channels.

Sending control data from one layer to another on “internal MIDI” channels.

Suite of data processing and generative nodes including data smoothing, binary logic, math expression evaluation, step sequences, data range mappers, scale mapping, event triggers, zone triggering, MIDI data triggering.

Send MIDI cc control data and notes to the outside world: drive other synths and effects on any of 16 MIDI channels.

https://www.tracktion.com/products/hyperion

[thetapelessworld]

Spitfire Audio and associated London label SA Recordings announce availability of HAINBACH - LANDFILL TOTEMS sample library and album namesake

Spitfire Audio and associated London label SA Recordings announce availability of HAINBACH - LANDFILL TOTEMS sample library and album namesake

Spitfire Audio is proud to announce availability of HAINBACH - LANDFILL TOTEMS — a sample library comprising an extension of the sound palette of Berlin-based electronic music composer and performer Hainbach’s musically mind- blowing Landfill Totems concept album simultaneously released on SA Recordings, the London-based label owned by the British music technology company, allowing access to a truly unique world of one-of-a-kind, bespoke sounds expertly curated by Hainbach himself from long-forgotten, now-obsolete test equipment collected from nuclear research labs, grandfathers’ sheds, and scrap heaps, completely repurposed and given a new lease of life as instruments, meticulously recorded and processed further before being presented in Spitfire Audio’s award-winning, easy-to-use plug-in as many morphing and evolving sounds suited to techno and ambient music production, as well as cutting-edge film scoring — as of April 8… Berlin-based electronic music composer and performer Hainbach (a.k.a. Stefan Goetsch) creates shifting audio landscapes living on the experimental edge of electronica, championed by British independent print and online music magazine The Wire — widely renowned for its coverage of a wide range of global alternative, underground, and experimental musics — as “...one hell of a trip.” The music itself is an abstract yet visceral experience, fashioned from esoteric synthesizers, test equipment, magnetic tape, and idiophones — instruments that totally vibrate when struck, shaken, or scraped. Straddling studio to stage, Hainbach’s immersive live performances are also admired, manifesting more recently through his YouTube Channel, where he has amassed an ever-expanding loyal following, sharing his experimental journeys and expertise with wider audiences.

Appropriately, the Landfill Totems project started life as a performance installation at Berlin’s PNDT — a new art gallery whose purpose is to provide a space for culture and creation, for presentation and appreciation of art in all its forms, expanding exponentially into a full album and accompanying sample library recorded at Patch Point, builders and sellers of unique instruments in Kreuzberg-Berlin — much more than a standard store on account of offering residencies to promote community and education through a free booking room filled with unique synthesizers for everyone to play. Hainbach himself puts it this way: “What I love about Patch Point is that it is a place for those interested in sound and music itself. You don’t go there to buy a box with 999 presets that will make you sound like the industry standard; you go there to find something that speaks to you. You pick up something that will start an intimate process of music creation, and it will sound like you, and only you.” Subsequently stacked into three monolithic towers resembling totem poles, each piece of equipment thereon was carefully chosen by Hainbach for its distinctive tone generation and modulation capabilities before being wired together much like a modular synthesiser. Says the electronic music composer and performer eventually lending his notable name and one-of-a-kind, bespoke sounds to Spitfire Audio’s HAINBACH - LANDFILL TOTEMS sample library: “Each tower of equipment took the form of a lifelike statue, and suddenly all these faces started appearing in the machines. They made massive sounds and unfamiliar noises and I thought, ‘I want these to be heard — to sing again.’”

As anyone observing those assembled anthropomorphic figures could conceivably concur, a deep appreciation and affection for the engineering technology of the past is apparent — totally unique machines assembled for one final swan song. Ultimately upcycled and redesigned as pillars and shrines, these totems act as a commentary on the environmental cost of progress; what was once the pinnacle of technology quickly becomes unviable and destined for the scrapheap — if not for the intervention of Hainbach, creating beauty from that which is thought to be obsolete. Carefully chosen to create this towering collection is medical, telecommunication, and scientific research equipment, vintage sound-testing devices, a Nuclear Instrumentation Modular, an outmoded medical signal generator, a mixer previously used by the Stasi — the state security service in former East Germany, and a Brüel & Kjaer 1613 bandpass filter creating the hi-hat, bass drum, and watery sounds.

Simultaneously released alongside Hainbach’s musically mind-blowing Landfill Totems concept album on SA Recordings, Spitfire Audio’s sample library namesake sees those same machines completely repurposed and given a new lease of life in an unforeseen capacity as instruments, producing unpredictable sounds from another world — wide ranging from eerie morse code bleeps and comms signals to flickering bass pulses; deep drones and ominous pads to grainy textural rhythms; visceral clicks, industrial drum hits and loops; and electromagnetic noise to heavenly humanoid ‘voices’. Virtual instrument brilliance is guaranteed as everything is meticulously recorded and processed further as dystopian sounds presented in Spitfire Audio’s award-winning, easy-to-use plug-in providing access to truly one-of-a- kind, bespoke creations, impossible to recreate otherwise.

On the face of it, then, the plug-in provides 40 presets split into four sections: Kling — presets containing elements from all other sections, with a huge range of textures available to explore using the mod wheel; Klang — tonal sounds, from evolving pads to pulsating drones; Knarz — textural and effects-style sounds, from watery to alien-like; and Krach — percussion and drum hits, as well as time-machine loops and patterns. Innovative inbuilt effects and controls provide a wealth of self- explanatory sonic possibilities to drastically control and manipulate each of the presets, including REVERB, DELAY, ATTACK, RELEASE, DISTORTION, and STRETCH, while the dynamics fader controls the processed signal to offer a spectrum of sounds within each preset — velocity-sensitive themselves for varying tones. “Just press one note, and you get a whole spectrum of emotion.” So says Hainbach himself, ending on a high note. As a sample library of stark sonic contrasts — from harsh, futuristic, and dystopian to beautiful and emotive sounds from another world, HAINBACH - LANDFILL TOTEMS is an invitation for musicians and producers to reimagine, recreate, or completely pull apart the sound world of an artist like no other to facilitate their own artistic vision. Indeed, it is perfect for creating tension, suspense, and beauty in any musical setting — from electronic tracks to hybrid film scoring or abstract sound design... and all without breaking into a broken bank balance-induced sweat! HAINBACH - LANDFILL TOTEMS is available as an AAX-, AU-, VST2-, and VST3-compatible plug-in supporting Native Instruments’ NKS (Native Kontrol Standard) for Mac (OS X 10.10 - macOS 11 minimum) and Windows (7, 8, and 10 — latest Service Pack) that loads directly into any compatible DAW (Digital Audio Workstation) for an RRP (Recommended Retail Price) of only £29.00 GBP (inc. VAT)/$29.00 USD/€29.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/hainbach-landfill-totems/ (Please note that the first 1,500 purchasers of HAINBACH - LANDFILL TOTEMS will each receive a limited-edition Landfill Totems cassette album for free.)

Hainbach’s musically mind-blowing Landfill Totems concept album is available to purchase either on its own as a limited-edition 12-inch vinyl album for £17.50 GBP (inc. VAT) or as a bundle — comprising a limited-edition 12-inch vinyl album (plus WAV / FLAC digital download) and the HAINBACH - LANDFILL TOTEMS sample library — directly from SA Recordings here: https://sarecordings.com/release/220828-hainbach-landfill-totems (Please note that bundle purchasers will each receive a limited-edition Landfill Totems cassette album for free.)

Spitfire Audio’s namesake Spitfire Audio application allows anyone to buy now and download anytime, and is available for free from here: http://www.spitfireaudio.com/info/library-manager/

For more in-depth information, including some superb-sounding audio demos, please visit the dedicated HAINBACH - LANDFILL TOTEMS webpage here: https://www.spitfireaudio.com/shop/a-z/hainbach-landfill-totems/ Watch Spitfire Audio in-house composer Homay Schmitz’s walkthrough of HAINBACH - LANDFILL TOTEMS here: https://youtu.be/i9uJNZwTBgY

Experience the one-of-a-kind atmospheric electronics embodied by HAINBACH - LANDFILL TOTEMS in its trailer video here: https://youtu.be/5JjBeMGFROM

[thetapelessworld]

Riot Audio introduces a brand new product BIONIC Plucks and Mallets

Riot Audio to introduces a brand new product BIONIC Plucks and Mallets

Riot Audio releases a new musical sound design tool for Native Instrument’s Kontakt6, built around a novel “transient splicing engine” that is designed to give detailed control over  a  range  of  parameters  needed  to  mix  and  match  a  number  of  different  initial transients to another set of tails/longer sounds.BIONIC PLUCKS AND MALLETS AT A GLANCE

Based  on  Riot  Audio’s new proprietary BIONIC TRANSIENT  SPLICING engine

Four layers of sound: two transient layers and two tail layers•80 sound sources (20 short, 40 medium and 20 long)

12  million  possible  sonic  combinations accessible  through “randomize” function

50 presets included

Extensive   sound   sculpting   controls,   including   crossover   fade (between transient  and  tail  samples),  crossover  point,  tail  envelope  and  transient attack curve (shape)

Vibrato,   Velocity   Sensitivity (Volume,   Low   Pass   and   High   Pass)   and Humanize Controls for in-depth realism

Total size of sampled content: 2.1GB(1.56 GB compressed)

Replika Analog Style delay, Choral (chorus),Flair (flanger) and Supercharger GT (compressor) effects included•

Intro price until April14th2021: £79(£99regular)

Requires Native Instruments Kontakt 6.5.2 (Full Version)

INTRO

Riot  Audio today releases the  first  installment  of  its  new  sound  design  engine BIONIC –BIONIC  PLUCKS  AND  MALLETS.It will  be  available  for £79(regular price £99) until April 14th 2020 .  MAIN PAGE 

BIONIC PLUCKS AND MALLETS is a detailed three-page instrument. There are four layers (A, B, C, D) , accessible on the main page: two transient layers, and two tail layers. Levels can be adjusted as balance between each of the tail/transient layers respectively, and globally between transients and tails. '

Each layer contains sample offset and tuning controls as well as a “humanize” function which introduces subtle to not-so-subtle random pitch variations (especially helpful for making non-tonal transients more realistic).

LAYER CONTROLS Each layer also contains the following controls:

Humanize: Introduces subtle pitch variations that help give the instrument an organic, non-repetitive feel

Offset: Controls sample offset, which allows for detailed sculpting of the exact amount of the initial attack needed

Octave: Controls octave tuning (-2, -1, 0, +1, +2, 2)

Tune: Controls pitch in semitones (-12 -> +12)

Fine Tune: Controls fine tuning in %

Trim: Additional gain control for each layer

GLOBAL CONTROLS

A/B Balance: Controls the balance between the transient layers A and B

C/D Balance: Controls the balance between the tail layers C and D

Master Balance: Controls the balance between transients (A+B) and tails (C+D)

Clean/Full: Select full view with all controls (Full) or clean, simplified view (Clean)

Random (Transient)/Random (Tail): Selects random sound sources for each active layer. Great for experimenting and quickly finding new sound combinations (possible permutations: 12 million)

Preset Menu: Preset saving menu – 50 master presets, 9 user slots and 1 INIT patch included.

Settings page

The settings page is where the details of the transient splicing engine are determined. A range of controls allow shaping of the crossfade curve, point of crossover and initial transient, as well as filters for both transients and tail, plus envelope shaping for the overall sound.

There’s also a sophisticated velocity mapping section which allows for realistic mapping of velocity to HP/LP filters and volume. GLOBAL CONTROLS

Crossover Point: Controls point at which we transition from the transient layer sounds to the tail layer sounds. Can be turned right up to the initial transient peak or left looser for more of the curve following the initial transient peak

XFade Length: Controls the amount of crossfade between transient and tail layers. The minimum setting results in a hard cut between the two sounds (recommended for cases where only a the first slice of the transient layer is required). The maximum setting leaves a greater length of the transient layer in play – this is great where a subtle, gradual blend of the transients and tails is required

VELOCITY MAPPING Applies to all layers equally.

Volume: Controls the degree to which velocity determines volume.

Low Pass: Controls the degree to which velocity determines a low pass (i.e. high cut) filter. Great for creating natural sounding duller expression for lower playing velocities.

High Pass: Controls the degree to which velocity determines a high pass (i.e. low cut) filter. This function is helpful for reducing the body of lower velocity sounds somewhat – this is relevant for emulation of some mallet sounds where light touches are likely to result in less low-frequency resonance

VIBRATO Applies to all layers equally.

Speed: Controls the speed of the vibrato.

Amount: Controls the strength of the vibrato.

Fade In: Controls the delay and fade-in length of the vibrato effect

TRANSIENT CONTROLS SHAPE

Sharp/Soft: Controls the curve of the attack of the transient layers. Lower settings result in a very sharp, short attack, whereas higher settings yield a more rounded, soft attack.

FILTERS

HP: Switches on a high pass filter for the transient layers

Freq (HP): Controls the frequency at which the high pass filter starts having an effect

LP: Switches on a low pass filter for the transient layers

Freq (LP): Controls the frequency at which the low pass filter starts having an effect

TAIL CONTROLS FILTERS

HP: Switches on a high pass filter for the transient layers

Freq (HP): Controls the frequency at which the high pass filter starts having an effect

LP: Switches on a low pass filter for the transient layers

Freq (LP): Controls the frequency at which the low pass filter starts having an effect

ENVELOPE

Hold: Controls the length of the hold part of the envelope of the tail layers

Decay: Controls the length of the decay part of the envelope of the tail layers

Sustain: Controls the length of the sustain part of the envelope of the tail layers

Release: Controls the length of the release part of the envelope of the tail layers

+Sustain: Controls an additional sustain effect

Effects page

The effects page includes state of the art filters, EQ, saturation and delay + reverb controls using the latest Kontakt 6 effects, including Replika delay, Choral chorus, Flair flanger and Supercharger GT compressor. MODULATION Chorus – NI Choral/Flanger: NI Flair

Chorus/Flanger switches: Switches between chorus of flanger effect or turns them both off

Rate: Controls the speed for chorus/flanger

Amount: Controls the strength for chorus/flanger

Width: Controls the amplitude/width for chorus/flanger

Voices: Controls the number of voices for chorus/flanger

Feedback: Controls the amount of feedback for chorus/flanger

Mix: Controls the wet/dry mix for chorus/flanger

COMPRESSOR NI Supercharger GT

On/Off: Switches chorus on/off

Input: Controls the input gain for the compressor. High levels feed higher levels of the input signal

Amount: Controls the ratio of the compressor (0:1 to 10:1)

Saturate: Controls the saturation applied at the level of the compressor

Attack: Controls the attack time for the compression – lower levels kick in earlier, while higher levels leave more of the transient intact

Release: Controls the release time of the compression

Mix: Controls the wet/dry mix for the compressor

SATURATION Tape Saturation

On/Off: Switches chorus on/off

Amount: Controls the amount of saturation applied

Dampening: Controls the amount of dampening applied to the saturation (gentle LP filter)

FILTER HP/LP/BP

On/Off: Switches between high pass/band pass/low pass filters or all off

Freq: Controls the frequency of all three filters

EQ 3 band parametric Equalizer

On/Off: Switches EQ on/off

Low/Mid/High: Controls the frequency center for each of the EQ bands

Q: Controls the width (Q) of each EQ band

DELAY Replika Analog-style Delay

On/Off: Switches delay on/off

Diffuse: Toggles diffusion delay type and non-diffusion. Diffusion delay allows for reverb-type effects with short delay time values

Sync: Switches between time-based (ms) and tempo-based (note values) delay

Volume: Controls the volume of the delayed signal

High Cut: Controls the amount of high cut (low pass) applied to the delay

Low Cut: Controls the amount of low cut (high pass) applied to the delay

Time: Controls the delay time (ms/note value-based depending on Sync/un-sync toggle)

Feedback: Controls the amount of feedback for the delay

REVERB

On/Off: Switches reverb on/off

Volume: Controls the volume of the wet reverb signal

Size: Controls the size of the simulated hall

Predelay: Controls the amount of predelay applied to the reverb

Damping: Controls the damping applied to the wet reverb signal over time

Length: Controls the length of the reverb tail

ADD TO CART

SOUND APPLICATIONS

BIONIC PLUCKS AND MALLETS is designed with a wide range of contemporary music production applications in mind, including electronica, hip hop and R&B, as well as cinematic styles. The included presets cover smooth and dirty basses, gritty, reimagined Electric and Rhodes Pianos, celesta or glockenspiel-like bells and analog-style synth plucks, as well as a number of experimental, customised sounds.

SOUND SOURCES

The sounds for BIONIC PLUCKS AND MALLETS come in three categories – short, medium and long. The short sounds (20) are non-tonal and cover transients only, including a range of wool, wooden, rubber and finger taps and knocks.

The medium sound sources (40) are tonal and are drawn from plucked, fingered and mallet-hit acoustic, electric and bass guitars, alto and soprano glockenspiel, some sampled original analog synth plucks and a variety of unusual percussive sounds including a Japanese wind chime, metal kalimba, dampened piano, pitchfork and wine glass.

The long sound sources (20) are long sustained pads that can be used to add sustain to match the shorter sources. There is a selection of Ebow-ed strings (piano, guitars, violin), and several individually crafted classic synth-style sounds (bells, tines, organ, saw, sine, pulse).

https://riotaudio.com/product/bionic-plucks-and-mallets/

[thetapelessworld]

ODDSound Release MTS-ESP Suite for Dynamic Microtuning

ODDSound Release MTS-ESP Suite for Dynamic Microtuning

UK STARTUP & APHEX TWIN REDEFINE MUSICAL TUNINGUK-based ODDSound’s collaboration with Grammy-winningelectronic artist Aphex Twin seeks toevolve a fundamental musical component - the note.

A new computer music technology,MTS-ESP, sets notescompletely free

.MTS-ESPchallenges the dominance of western tuning,giving global cultures tools tocompose in traditional local tunings whilst extendingthe possibilities for all.

MTS-ESPallows for fresh creative approaches to musicalcomposition, enabling electronicmusicians to define and change pitch at any momenteven whilst notes are playing.

Independent developers collaborate to empower musiciansto access alternative tunings.

           Until recently most music software only allowed working with the            same 12 notes, equally divided over an octave. Whilst microtuning additions have broadened this considerably, it can still be cumbersome to get all plugins and external synths in tune, until now...          

           The MTS-ESP Suite equips composers with tools to get everything            tuned quickly and accurately, as well as presenting entirely new compositional    methods.          

           Change notes or chords whilst they’re being played, transpose all           instruments at once or morph into an entirely different tuning system - the possibilities are endless. Discover more about tuning  and get detailed visual representations in real-time, or simply get everything tuned correctly in record time.          

The MTS-ESP Suite provides the computer musician with an intuitive toolset for rapidly composing and finessing microtonal pieces.Existing MIDI compositions can be easily converted to a different tuning system and given an entirely different emotional context. Working on new compositions is made nearly effortless.          

FEATURES:

Import and export .scl, .kbm and .tun tuning and mapping files

Create new tuning systems, manually and algorithmically

Control the tuning of your whole studio from within a single plugin

Retune any plugin or MIDI device with either MTS-ESP, MPE, MTS SysEx or MIDI pitch bend

Automate tuning changes across all plugins and MIDI devices

Visualize and compare tuning systems

Convert compositions from one tuning system to another

Create subset scales by analysing MIDI to only include used notes

Use a Novation Launchpad as a microtonal keyboard and chord player

Create tunings by ear and tune instruments with the built in synth

Zero-latency, low CPU use

Simple, ergonomic resizable interface

Mac Retina and Windows HiDPI support

Free, completely functional 30-day demo

When young we’re told that there are seven colors in the rainbow.  As we grow we realize that this isn’t true;the rainbow is a spectrum of color, a chromatic blur, and we’re completely used to visual artists utilising its variety.  In music we’re similarly told there are twelve equally spaced notes (12 Tones of Equal Temperament, or 12 TET for short).  Again, we grow to realize pitch is also a spectrum, yet this notion rarely extends to the music we listen to because the industry has been firmly rooted in those twelve notes...until now.  A collective of British musicians and software developers seek to challenge the tyranny of a de facto tuning system imposed on us all.

Although 12 TET has been a musical concept for millennia,its ubiquity is comparatively recent. Prior to mass manufacture of musical instruments the world was brimming with localized intonations,theories of tonality and tuning experimentation on the parts of composers.  12 TET enabled the industrialization of instrument manufacture through standardization, but the dawn of digital synthesizers in the 1980s ended the need for this conformity.  In theory a synthesizer could be tuned arbitrarily, so after lobbying from Robert Rich and Carter Scholzthe MIDI standard was extended to include specifications for changing tunings in 1992.Sadly that technology, known as MTS (MIDI Tuning Standard), never achieved broad adoption.

The constraints of 12 TET became increasingly apparent- pop hits often have similar melodies,leading to the all-too-common lawsuit and our ear shave grown so accustomed to this single tuningwe can find anything else discomforting (somethingTV and film composers have leveraged for decades now).  Young musicians marveling at world music such as Gamelan may wonder how such ethereal composition could be achieved, as often little is taught on the subject at western conservatoires or universities.  Musical commentators started to ask the obvious questions -have we run out of notes and is this dependency another vestige of western colonialism?

“It has been long evident that composers have been taxing both the system and its instruments far beyond their capacities, and that the continued tyranny of Equal Temperament is leading tothe degeneration of tonality...It would be health yfor us to realize fully that our instruments are exactly as poor as the system and habits of thoughtwith which they evolved.”Harry Partch

Many musical mavericks and global musicians already knew the answer - there’s a continuum of pitch, tonality is subjective and escaping the prison of those twelve notes can give music a whole new life.  To this end developers Damon Hancock and Dave Gamble (of UK audio brand DMGAudio) hatched a solution - an easy-to-use system unlocking the whole pitch spectrum.  It allows synthesizers to be tuned however one wishes and for tuning to be modified in real-time with no setup required.  MTS-ESP was born.

Tuning enthusiast Richard D James (Aphex Twin) showed them his vintage Rhodes Chroma synth with custom firmware that enabled him to author new tunings by ear and then transfer them to other instruments.  It was a laborious process, often taking hours to tune all the instruments on a recording,but it worked and was more musically intuitive than alternatives.  These ideas were consumed into the project and soon a holistic, centralized approach to tuning emerged.  EDM producer and coder OliCash (a.k.a. Far Too Loud) joined the team and a new company was formed, ODDSound, specifically targeting the boundaries of creative music technology.

There was one small problem left - whilst the system delivered solid results with existing hardware and software the perfect solution necessitated third-party developers to add code to their products.Adoption of new technologies in computer music hasoften been a slow process, spanning many years if not decades, so why would anyone integrate MTS-ESP prior to launch?  Richard, already friendly with numerous synth companies, offered hissupport to the project.  Now it has been openedup for anyone to use, with freely available code for developers and free software for users.  MTS-ESP now enjoys one of the broadest adoptions on launch of any computer music technology in history, aswell as a zero-cost entry point for everyone via the MTS-ESP Mini plugin paired with free softwareinstruments.

"You now have63,050,394,783,186,944-128 more frequencies to play with" Richard D James

A plethora of compatible software, some free and some commercial, is available now from forward-thinking developers including : Audio Damage, Audiorealism, CWITec, DMGAudio , Expert Sleepers, HY Plugins, Modartt, Surge, Soundyan, TAL, U-He, Xfer Records,

More are joining weekly and the possibilities for tuning don't end there either. The full MIDI Tuning Standard, mentioned earlier, is resurgent on modern hardware synths, notably those from Moog, Waldorf and Novation, offering a way to control the tuning of individual notes from the system.  Expert Sleepers provide a way to retune analogue and Modular synths using Control Voltage (CV) with MTS-ESP integration in their “Silent Way” plugins.MTS-ESP can also be used for tuning in the virtual modular VCVRack and MAX/MSP visual programming environments via free modules provided by ODDSound.

The launch  of the MTS-ESP ecosystem is a huge leap forward for electronic music creators that utilise the infinitude of alternatives to 12 TET.Veering from tuning norms has been costly,time-consuming and frustrating until now, but this technology remedies the issues whilst empowering users to explore a universe of approaches to tuning.Now independent developers have united to push music technology forwards perhaps we will see more such projects to come.

The ODDSound MTS-ESP Suite is available now at oddsound.com for £79.99 (GBP).

The ODDSound MTS Mini plugin is available now at oddsound.com for free 

https://oddsound.com/index.php

[thetapelessworld]

Audified is proud to release AmpLion 2 Rock Essentials

Audified is proud to release AmpLion 2 Rock Essentials

Audified is proud to release AmpLion 2 Rock Essentials — effectively revamping its long-lived AmpLion Pro software stalwart as a rip-roaring plug-in putting three legendary amplifier models, four cabinets, 15 stomp boxes, and 10 microphones meticulously recreated using state-of-the-art component modelling alongside a totally redesigned GUI (Graphical User Interface) and numerous new features into the hands of present-day DAW-driven guitarists — as of March 18… Audified’s AmpLion Pro has proven popular with discerning DAW-driven guitarists as a complete software processor since its introduction to widespread critical acclaim during 2014’s long hot summer. Several years is a veritable lifetime in the wonderful world of ITB (in the box) mixing — exclusively inside a DAW (Digital Audio Workstation) once tracking is complete; indeed, it is also a veritable lifetime in terms of computing power pressed into running those plug-in-hosting DAWs. Readily revamping its software stalwart as a rip-roaring plug-in putting three legendary amplifier models, four cabinets, 15 stomp boxes, and 10 microphones meticulously recreated using state-of-the-art component modelling alongside a totally redesigned GUI and numerous new features into the hands of present-day DAW-driven guitarists is easier said than done, however. Having taken time to combine its proprietary research with the latest trends in the scientific community, AmpLion 2 Rock Essentials’ power amp section uses a loudspeaker impedance model to replicate the interaction between the power amp tubes, output transformer, loudspeaker, and power amp feedback, while its analog delay and modulation effects use a bucket-brigade delay model with an exact number of buckets and virtual clock rate instead of a simple delay to add a small amount of aliasing to the sound output, heard as a typical ringing sound; all are latency-free for immediate playing response, including the all-important cabinet models. Audified ably applied the best of both worlds to design a new real-time nonlinear dynamic circuit equations solver which was used as the basis for modelling all circuitry creating AmpLion 2 Rock Essentials’ stunning sound — essentially encompassing a gear selection anchored around absolute rock staples, as implied by its apt appellation.

Those three amplifier models are as varied in tone and as great-sounding as their real-world hardware counterparts when imaginatively implemented in AmpLion 2 Rock Essentials: meticulously modelled after a small-sized yet monster-sounding low-wattage amp of choice for many players across many genres — gracing recordings ranging from traditional country to alternative rock, Bartender Delux 65 offers two main channel choices, each with low and high INPUT option, a hyper-realistic, separately-engaged spring REVERB, and a choppy or lush VIBRATO, plus (Rear & Mods Panel-accessible) Pushed mode; JUKEBOX 30 musically mines a rich rock spectrum of classic sounds with aNORMAL channel acting as a perfect companion to using treble boosters (of which two are included in AmpLion 2 Rock Essentials’ extensive stomp box selection), switchableREVERB and TREMOLO, plus TOP BOOST controls, as well as Rear & Mods Panel-selectable Voicing and Custom EQ options; Martial 59 realistically represents a real rock legend (without which rock ’n’ roll itself might never have happened) with a traditional four-input configuration and a parallel channel holding the key to screaming rock sounds, while Master and Pushed options are also available alongside Rear & Mods Panel-selectable SLP/HW/Brown sound revision switches and Ohm selection — the latter making a noticeable difference in itself! Indeed, the three amps in question have been modelled above and beyond their standard stock real-world hardware counterparts courtesy of Audified’s own custom mods, fan-favourite mods, specific tweaks, and various version revisions — all accessible via their respective Rear & Mods Panel-positioned additions.

All adding their own distinctive dimension to the discerning DAW-driven guitarist’s tone palette, AmpLion 2 Rock Essentials features four cabinet models: Bartender 112 J represents the sound of a classic 1x12” combo and a J-style speaker as a matching cabinet for the Bartender Delux 65 amp model to duly deliver tightness with low- end focus, though of course can also be paired with AmpLion 2 Rock Essentials’ other amp models; JUKEBOX 212 GB models one of the most classic 2x12” cabinet designs ever created, matching the JUKEBOX 30 amp model to create clean through to crunchy sounds, as well as variations thereof when used with either of the other two amp models; modelling classic 4x12” half-stacks, Martial 412 GB and Martial 412 G12A are both a perfect match for the Martial 59 amp model, the former being fuller in bass response with somewhat scooped mids while the latter is more focused on mids for a tighter tone — combine them in stereo or work with Double Track mode for fulsome fun and tumultuous tones! Audified’s AmpLion 2 Rock Essentials enables various ways of working with the cabinets — selecting only one as active allows the mic to be panned across the stereo field, for example, but blending two cabinets leaves the pan centred, or use two cabinets and mics to pan them hard left and hard right, while taking the aforesaid Double Track route results in a different sound altogether.

By building upon a lengthy legacy of virtual stomp boxes that led up to MultiDrive Pedal Pro — pushing further forward with Audified's virtual stomp box breakthroughs by bringing the legacy of erstwhile brand DSound’s first guitar software (released as Stomp’n FX Vol. 1 and Stomp’n FX Vol. 2 way back in 2000) and later featured, for instance, in Audiffex’s inTone2, AmpLion 2 Rock Essentials features 15 new and redesigned stomp box models, including two T-Boost treble-boosters with their not-so-widely modelled Sixties- and Seventies-vintage sound, as well as overdrives and distortions aplenty — 808 IceScreamer, distortion PULS, Melted Face Fuzz, and O-DRIVE 1; very versatile Jukebox Wah 84; MEMORIZED DELAY, DigiDelay, and DigiVerb delays and reverb; mrs. flanger, STONED PHASER, and CLONED CHORUS modulation effects; plus proprietary stomp box equalisers — GraphEQ and ParaEQ. Pushing flexibility further forward, AmpLion 2 Rock Essentials encompasses two pedalboards with one positioned before the amp and the other after the whole rig; while wah and drive stomp boxes are restricted to only pre-placement availability and DigiDelay and DigiVerb are restricted to only post-placement availability, all other stomp boxes are available to both. But wherever they are positioned, all work wonders when finalising guitar tones! Audified’s AmpLion 2 Rock Essentials comes complete with 10 fan-favourite mic models — 121 Rodger, 414 OMG, 421 Sensei, 451 Pencil, 57 Legend, 5i Audition, 7B Podcaster, 87 Oldman, and 906 S-Cube, plus a special Flat response model — based on thorough and repeated measurements in an anechoic chamber for amp and cab recording and re-amping. Moreover, maximising tonal variability is a given when using different mic models with different cabinet models and experimenting with their positions. Position and Distance controls are self explanatory, and are based on real science, yet AmpLion 2 Rock Essentials ups the recording ante still further by also offering a Mic Angle function ranging from a default position of 0 degrees — positioning the mic perpendicular to the cabinet grill cloth — to 75 degrees. Different mic’ing techniques are available to all with the greatest of ease. Elsewhere, an advanced Noise Gate algorithm is thoroughly pre-tuned to assist AmpLion 2 Rock Essentials users with eliminating noise, even when using high gain, while the proprietary Hiss Gate function even eliminates subtle pickup noise amongst other things — without affecting playing dynamics in any way — by being based on envelope tracking for both signal level and signal frequency bandwidth with automated release time to work both for palm muting and playing solo with the same settings.

Sounding complicated? Time to think again. AmpLion 2 Rock Essentials eases signal flow navigation thanks to being divided into four pages, each engaged using its own Power button. By focusing on presenting a few precisely modelled devices packaged into a guitarist-friendly GUI, AmpLion 2 Rock Essentials is surely set to achieve its goal of total classic rip-roaring rock domination! DAW-driven guitarists buying into the AmpLion 2 Rock Essentials ethos are in for an audible treat — and all without digging deep into their pockets, virtual or otherwise! AmpLion 2 Rock Essentials is available to purchase for an introductory price of $79.00 USD — rising thereafter to its regular price of $149.00 USD — from Audified’s online shop, which also includes further information and sound samples, here:https://shop.audified.com/products/amplion-2-rock-essentials AmpLion 2 Rock Essentials can be directly downloaded as an iLok-protected plug-in, available in AAX, AU, and VST3 64-bit native formats for Mac OS X 10.11 - macOS 11.1 (Apple Silicon-compatible) and AAX (64-bit) and VST3 (32-bit and 64-bit) native formats for Windows 7 - 10 from Audified here: https://services.audified.com/download

See and hear AmpLion 2 Rock Essentials in action as Audified aims at classic rip-roaring rock domination in its introductory video here: https://youtu.be/bUcdoOVzrxs

:https://shop.audified.com/products/amplion-2-rock-essentials

[thetapelessworld]

Spitfire Audio is proud to partner with world-famous Abbey Road Studios to present ORIGINALS MRS MILLS PIANO

Spitfire Audio is proud to partner with world-famousAbbey Road Studios to present ORIGINALS MRS MILLS PIANO

Spitfire Audio is proud to partner with world-famousAbbey Road Studios to present ORIGINALS MRS MILLS PIANO — professionally recorded in the latter’s Studio Two, the legendary home of pop and rock ’n’ roll, to duly deliver the distinctive (slightly chorused, lacquered hammer-owing bright, metallic) sound of an iconic 1905-vintage Steinway Vertegrand upright, affectionately known throughout the decades by Abbey Road Studios engineers as the ‘Mrs Mills Piano’ (paying homage to British pianist Gladys Mills, whose popular music hall, singalong-style records were mostly recorded on this piano), made famous by the likes of Russ Conway, The Beatles, and The Zombies during the trailblazing Sixties pop era at Abbey Road, rendered accessible to the musical masses as a meticulously sampled creative coupling of iconic instrument and recording space presented in Spitfire Audio’s award-winning, easy-to-use, and affordable plug-in positioned as a lightweight (~4.6GB-sized) library with NKS (Native Kontrol Standard) compatible controls and no compromise on recording quality

Having successfully cemented a creative partnership with world-famous Abbey Road Studios late last year as ABBEY ROAD ONE: ORCHESTRAL FOUNDATIONSinaugurated its ABBEY ROAD ONE: FILM SCORING SELECTIONS series showcasing the foundational film scoring sound of Studio One by carefully capturing a full, symphony-sized (90-plus-piece) orchestra inside the world’s largest purpose-built recording studio, subsequently followed earlier this year by its attractively- priced ABBEY ROAD ONE: SPARKLING WOODWINDS and ABBEY ROAD ONE: LEGENDARY LOW STRINGS siblings inspired by classic films and offering pre- orchestrated themes to focus on accomplishing certain performance elements as a perfect fit for seamlessly working with(in) ABBEY ROAD ONE: ORCHESTRAL FOUNDATIONS or equally well on their own, ORIGINALS MRS MILLS PIANO contrasts with the film scoring legacy of Studio One as an audible result of Spitfire Audio (ad)venturing into Studio Two. This is Abbey Road Studios’ most famous studio space, synonymous with producing some of the most popular pop and rock recordings of all time. As a versatile room that has changed very little since the Sixties, it has a warm acoustic that was originally tailored to accommodate smaller string sections and big bands — perfectly proportioned to suit the pop history-recording requirements of ORIGINALS MRS MILLS PIANO, the latest aptly- named addition to Spitfire Audio’s ongoing series of inspiring sample libraries making rare and classic instruments accessible to all for just £29.00 GBP (inc. VAT)/ $29.00 USD/€29.00 EUR (inc. VAT) apiece.

Musically-speaking, ‘Mrs Mills Piano’ perfectly fits that rare and classic instrument bill. Built back in 1905, this Steinway Vertegrand upright has resided at Abbey Road Studios since 1931. Indeed, its distinctive sound owes much to Fifties-serving studio engineer Stuart Eltham, who sent it back to Steinway to achieve an older sound. Steinway’s solution? Hammers hardened with lacquer emulated the bright, slightly metallic tone of a tack piano with certain strings detuned to create a subtle chorus effect for facilitating that old-time bar-room sound, suited to cutting through any mix. It is still in use today, in fact, featuring on countless records and film scores, still affectionately known by Abbey Road Studios engineers as the ‘Mrs Mills Piano’ (paying homage to British pianist Gladys Mills, whose popular music hall, singalong-style, Sixties- and Seventies-released records were mostly recorded on this piano).It is perfectly possible to tailor Spitfire Audio’s meticulously sampled ORIGINALS MRS MILLS PIANO plug-in namesake to suit a range of styles and genres — from pop through to jazz and into the realms of cinematic scores — thanks to its carefully curated range of signals, presets, and controls. Close — comprising a pair of Neumann U67 microphones for a crisp, defined sound — and Room — pairing omni condenser microphones to give a spacious image of the piano and the room — signal controls are joined by a Vintage signal capturing the classic Sixties-vintage Abbey Road recording chain — comprising the now extremely rare AKG D19c microphone placed above the strings in the middle of the piano, recorded using an all-valve Studer J37 tape machine (made famous by breakthrough multitrack recording of The Beatles’ Sgt Pepper’s Lonely Hearts Club Band album at Abbey Road in its one-inch four-track format configuration) via an EMI REDD.47 mic preamp — to authentically capture the iconic sound of Studio Two itself and, of course, character of the songs that made the piano famous in its own right. Furthermore, five presets range from close and clean to spacious and reverberant — namely, Close, a dry and upfront mix of the Close microphones with the mechanical sounds of the hammers and pedal; Clean, the Close and Room signals balanced for a controlled, yet spacious sound with minimal mechanical hammers and pedal noise; All Together, a blend of all three microphone signals, providing a versatile and characterful sound; 1968, recreating the celebrated sound of The Beatles classics with the Vintage signal; and Distant, the Room and Vintage signals with the REVERB turned up. Ultimately, six effects offer even more control with REVERB — representing one of Studio Two’s Fifties-vintage EMT 140 stereo plates with the decay set to 2.5 seconds; TIGHTNESS — cuts further into the note to make it tighter; HAMMERS — controls the volume of the piano’s hammers; and PEDAL — controls the volume of the sustain pedal noise; plus proprietary expression and dynamics controls for extra realism and detail.

Duly delivering the distinctive sound of a unique piece of Abbey Road-residing pop history housed in its inexpensive ORIGINALS MRS MILLS PIANO plug-in namesake, Spitfire Audio has surely succeeded in its latest musical mission of making another rare and classic instrument accessible to all, wherever they may be and whoever they are. Ask Sir Paul McCartney... he should surely know as someone who has made musical history himself by making musical contact with ‘Mrs Mills’ on a notable number of occasions! ORIGINALS MRS MILLS PIANO is available as an AAX-, AU-, VST2-, and VST3-compatible plug-in supporting Native Instruments’ NKS (Native Kontrol Standard) for Mac (OS X 10.10 or later) and Windows (7, 8, and 10 — latest Service Pack) that loads directly into any compatible DAW (Digital Audio Workstation) for an RRP (Recommended Retail Price) of only £29.00 GBP (inc. VAT)/$29.00 USD/€29.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/originals/#mrs-mills-piano

  Spitfire Audio’s namesake Spitfire Audio application allows anyone to buy now and download anytime, and is available for free from here: http://www.spitfireaudio.com/info/library-manager/

For more in-depth information, please visit Spitfire Audio’s ORIGINALS Frequently Asked Questions webpage here: https://www.spitfireaudio.com/info/faq/spitfire-originals/

Watch Spitfire Audio’s premiere of ORIGINALS MRS MILLS PIANO, putting on record the sound-specialising British music technology company’s (ad)venturing into Studio Two at London’s legendary Abbey Road Studios, as well as including its tantalising trailer video and an informative walkthrough video, here: https://www.youtube.com/watch?v=w9-3E9qLmiM

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Empirical Labs releases Rev 3 of AROUSOR™ as ultimate evolution of flagship compressor plug-in with more Distressor-based tones

Empirical Labs releases Rev 3 of AROUSOR™ as ultimate evolution of flagship compressor plug-in with more Distressor-based tones

Empirical Labs Inc. (ELI) is proud to announce availability of AROUSOR™ Rev 3 — the ultimate evolution of its flagship compressor plug-in, introducing more tones based on its Distressor hardware counterpart, itself one of the best-selling high-end compressors of all time as the product that started it all for the professional audio signal processing equipment designer and manufacturer/plug-ins producer, with the addition of two Opto (A and B) compression modes, as well as two additional (6:5:1 and 7:1) ratios for even more dynamic possibilities, available for free to existing owners of AROUSOR™ as the update they have been waiting for — as of March 30… Being borne out of ELI founder Dave Derr’s love of classic compressors like the 1176, LA-2A, and Gain Brain (amongst others), the Distressor incorporates his favourite sonic characteristics of outstanding outboard originally released way back when with other unique and interesting features that have made it a staple for audio engineers all over the world as one of the best-selling high-end compressors of all-time. It is inevitable that such a popular product would one day receive the plug-in treatment, taking the soul of the company’s professional audio signal processing equipment hardware and applying it to the wonderful world of ITB (in the box) workflow within a DAW (Digital Audio Workstation), albeit AROUSOR™ is the only native Distressor plug-in produced by ELI itself. As a new and improved (EL8-X) version of the Distressor increased its tonality with the addition of new features, so AROUSOR™ Rev 3 — the ultimate evolution of ELI’s flagship compressor plug-in — introduces more tones based on its Distressor hardware counterpart. Kicking off with two Opto (A and B) compression modes based on the time constants of a classic and a modern LA-2A compressor that many existing owners of AROUSOR™ have been waiting for — it is, after all, a much-loved Distressor feature, noteworthy new additions to AROUSOR™ Rev 3 also include a SOFT CLIPPING expert (e) panel — allows for introducing more second harmonic distortion and an ability to place the compressor input before or after the soft clipping circuit; a Listen mode — to hear what frequencies are affecting the DETECTOR SIDECHAIN EQ’s compression detector; additional 6:5:1 and 7:1 ratios (accessible by enabling ALT mode in the RATIO section) — for even more dynamic possibilities; and an enlargeable GUI (Graphical User Interface) — to double its original size for more comfortable onscreen editing. ELI’s classic knee compression with proprietary high-resolution detector modelling remains at the heart of everything AROUSOR™ Rev 3 does so well, with 12 unique compression ratios, including the famous brick wall — RIVET mode in AROUSOR™-speak — for maximum gain reduction. Remaining features well worth highlighting here are an adjustable broadband SOFT CLIPPING control — for introducing warm saturation; a unique AtMod ATTACK MODIFICATION control — to change the shape of the initial attack; an advanced high-pass/band-pass DETECTOR SIDECHAIN EQ — for fine-tuning compression detector response; and Mix knob with (e panel-enabled) Dry Level Trim — for parallel compression. As the update existing owners have been waiting for, AROUSOR™ Rev 3 has brought the legendary tone of ELI’s analogue hardware into the digital realm with even more possibilities as an ITB game-changer... just ask Jacquire King, whose work with the likes of James Bay, Kings of Leon, and Shania Twain has received 30-plus GRAMMY® Award nominations to date!

AROUSOR™ Rev 3 is available for purchase as an AAX-, AU-, VST2-, and VST3-supporting 64-bit effect plug-in for macOS (10.7 or higher) and AAX-, VST2-, 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 10 days — rising thereafter to an MSRP (Manufacturer’s Suggested Retail Price) of $199.00 USD — directly from ELI here: https://www.empiricallabs.com/product/arousor/ A fully-functional, 15-day trial of AROUSOR™ Rev 3 is available to download from here: http://www.empiricallabs.com/downloads/ An iLok account is required for activating both the demo and full versions of AROUSOR™ Rev 3 via iLok Cloud or using an iLok 2 or iLok 3 USB dongle. (Please note that ELI’s BIG FrEQ EQ plug-in — partially extrapolated from its much-loved Lil FreQ hardware EQ — is now also iLok Cloud compatible in its latest update.) For more in-depth information, please visit ELI’s dedicated AROUSOR™ webpage here: https://www.empiricallabs.com/product/arousor/