MADRID, SPAIN: hot on the heels of its namesake hardware-recreating SUCCESSOR and SYMPH EQ plug-ins relatively recently released to widespread critical acclaim, Heritage Audio is proud to announce availability of BritStrip, baking its BritStrip — beautifully representing the culmination of 50 years of analogue design in a single-space 19-inch rack device that nails the sound of yesteryear’s iconic recordings for present-day demanding engineers as a discrete Class-A CONSOLE CHANNEL STRIP that combines the vintage-sounding recording equipment developer’s juicy, inductor-based 73-style classic British-style EQ with the same diode-bridge compressor found in its SUCCESSOR (STEREO BUS COMPRESSOR), collectively held in high regard in thousands of studios worldwide as a modern-day classic — into a vibe-infused, all-in-one plug-in, as of December 30…
By baking 50 years of analogue design, effectively, into a single plug-in, BritStrip’s impact has to be heard to be believed, with extreme boosts being surprisingly musical. Indeed, its MID band is great for sculpting fat and punchy snares, guitars, and vocals. No need for subtlety — as is the case with most EQs — since BritStrip does not sound ‘phase-y’ or compromise signals, even at extreme settings. Indeed, its modelled Class-A H.P. (high-pass) FILTER allows users to remove any excess low end without affecting the quality of sought-after frequencies. Furthermore, BritStrip’s HI SHELF and LOW SHELF settings include a bell mode, making them very versatile for defining sounds.
But beyond that, BritStrip’s SUCCESSOR-like compressor is a powerful diode-bridge-modelled design — perfect for tracking usage, providing a thick, solid sound with detailed dynamic control, while a BLEND function facilitates getting the balance between the original signal and the compressed signal — as well as its SC (side chain) FILTER — just right, thereby allowing for focusing the compression on specific frequencies. Ultimately, users are provided with plenty of tracking potential, giving instruments an all-important ‘record-ready’ vibe while performers are monitoring themselves — helpfully hearing their performance with a finished ‘real-time feel’ as they perform, in other words.
Wonderful features notwithstanding, BritStrip also allows for flexible routing — pre-compression equalization makes the compressor detector more sensitive to the boosted frequencies and less sensitive to those cut, for instance; inversely, post-compression equalization makes the detector insensitive to the EQ settings.
It is interesting to note here, however, that when Heritage Audio first designed the BritStrip plug-in, it was the perfect match for its innovative i73® PRO family of USB-C audio interfaces as it pairs seamlessly with their built-in Class A 73-style preamps. Put it this way: when testers started to take the native plug-in for a spin, though, they soon saw the potential that BritStrip has in and of itself; in effect, it begged the question of whether BritStrip is actually a BritStrip without Heritage Audio’s signature preamp? It is fair to say that in order to avoid answering the question, the vintage-sounding recording equipment developer decided — for the first time ever — to model its 73-style preamp into a second version of BritStrip, so, depending on their needs, users can decide whether they want to use the initially-tested ‘lighter’ version without the preamp or the ‘full’ version with the aforesaid signature 73-style preamp modelled to perfection!
Helpfully, Heritage Audio’s goal with its BritStrip plug-in — as, indeed, is the case with its relatively recently released SUCCESSOR and SYMPH EQ plug-ins — is to create a tool to channel creativity and put the focus firmly back on music production, which is exactly why the vintage-sounding recording equipment developer wants to reach as many users as possible by applying a pricing scheme that is both comprehensive and fair. For instance, all BritStrip hardware owners can complete an online form (https://heritageaudio.com/britstrip-owners-form/) to redeem the ‘lighter’ and ‘full’ native versions of the BritStrip plug-ins for free, while both of those native versions of BritStrip are also available for free to owners of any i73® PRO family products from here: https://users.heritageaudio.com. Additionally, a ‘lighter’ version of BritStrip is also available as a DSP (Digital Signal Processing) plug-in for those i73® PRO family products, but benefits from their analogue preamp, obviously. Fortunately for everyone else, a no-nonsense price of €99.00 EUR/$99.00 USD is guaranteed.
Both native versions of BritStrip are available to purchase — as a 64-bit AAX-, AU-, and VST3-format-compatible effect plug-in for MacOS (10.15.7 and higher, with both INTEL and Native Apple Silicon M1/M2/M3 compatibility) and Windows (10 and 11) — directly from Heritage Audio here: https://users.heritageaudio.com/product/britstrip/
An iLok account is required for BritStrip activation. (If running BritStrip in trial mode, note that the trial will be fully functional for 14 days after activation.)
Watch Heritage Audio’s illuminating introductory video for BritStrip here:
About Heritage Audio (www.heritageaudio.com)
Heritage Audio was founded in 2011 by Peter Rodriguez. As a civil engineer and music producer, he went from building wind turbines to following his true passion — developing recording equipment with the vintage sound that he himself admired so much and so many others yearned for. Fortunately for all, he was able to master the key elements necessary to make high-quality recording gear affordable and reliable by combining his analytical mindset with his experience as a producer within a relatively short space of time. Today, the 15-person team has expanded its production plant located in the heart of Madrid, Spain, where it collectively continues to follow a philosophy of making vintage sound possible for today’s studios, successfully introducing innovative products to rank amongst the most popular brands with top retailers throughout the world.
© 2024 Heritage Audio
MILAN, ITALY: modular synthesizers- and sound sculptures-specializing music technology brand Jolin is proud to announce availability of ROSA — realized as a multi-mode crossfader, scanner, and switcher module for Eurorack designed to morph between up to four inputs and outputs, offering seamless signal routing with endless creative potential — as of December 20…
ROSA represents the ultimate tool for sound designers and performers seeking fluid transitions and dynamic control. Creatively, it can be used to morph smoothly between multiple inputs, route a single input across multiple outputs, modulate signals dynamically with flexible scanning and control, and switch between signals or outputs for performance variations.
Indeed, it can be used with LFOs (Low Frequency Oscillators) and envelopes — to morph modulation sources across various destinations; audio sources — to transition between different oscillators, filters, or effects; quadraphonic systems — to distribute signals across multiple speakers for immersive sound; and rhythmic triggers — to switch between trigger patterns or effects to create evolving sequences.
So how, exactly, does ROSA do what it does? It includes three distinct modes that allow users to shape and route signals in various ways. When working in Scan Mode, users can seamlessly morph between up to four inputs — the scanning circuit moves progressively from I1 (input one) to I4 (input four), with the option to loop back to I1 for continuous transitions; by adjusting the KNEE control, users can choose whether the transitions are smooth and gradual or sharp and instantaneous, making it perfect for creating evolving textures or switching between sounds on the fly. When working in Wave Mode, the four VCAs (Voltage-Controlled Amplifiers) operate independently — although each still follows the same control from the scanning circuit, they are kept separate, so users can independently modulate four different channels, creating complex dynamic changes in a patch. When working in Pass Mode, a single input is distributed across up to four outputs — if more than one input is plugged, they will all be mixed together, which is ideal for sending the same signal to multiple destinations, like quadraphonic speaker setups or different effects chains; the transition between outputs can be smooth or sharp, providing users with full control over how the signal moves between outputs.
Digging deeper still, the KNEE control shapes how the transitions behave in all modes, letting users switch from soft fades to abrupt jumps, while the SHUT input mutes all the VCAs simultaneously, so is ideal for performance control or rhythmic muting; since the VCAs are linear, amplitude control can be gradual or instantaneous, depending on the nature of the CV (Control Voltage) input. It is worth noting that the CV input is scanned with an attenuvertor — an attenuator that can also invert the signal — and a mechanical toggle switch (set to POT) permits users to select the Infinite Analogue Potentiometer — itself featuring an LED (Light Emitting Diode) ring to indicate which quadrant users are interacting with — that enables seamless circular and continuous morphing between inputs, or CV modulation (when set to CV).
It is fair to say, then, that whether users are creating evolving textures, routing a single input to multiple outputs, or exploring rhythmic variations, ROSA readily adapts to their needs. Needless to say, the fact that it transforms sounds in real time — thanks to those three powerful modes — makes it a must-have module for anyone looking to push the boundaries of modular synthesis.
The first batch of ROSA modules are limited in number — after all, Jolin’s products are all individually hand-built and tested carefully, but additional units will be being built in the coming weeks, all available directly from the modular synthesizers- and sound sculptures-specializing music technology brand’s online Shop (https://jolin.tech/shop/p/rosa), priced at €269.00 EUR.
For more in-depth information, please visit the dedicated ROSA webpage here: https://jolin.tech/modules/rosa
About Jolin (www.jolin.tech)
Operating out of its workshop in Milan, Italy, Jolin is a music technology brand specialising in modular synthesizers and sound sculptures — such installations include a robotic flower, designed to reflect upon the relationship between humans and nature in terms of technology impact, called Stellaria. Starting in 2018, tentative steps were taken within founder Federico Intrisano’s garage, where the hardware designer and musician collaborated with software engineer Pedro Ferragut on a breadboard-built oscillator using only a handful of components sourced from a local store. Since then, they have collectively embraced scientific rigour and artistic excellence, supported by composer and sound designer Marco Zoppi, electronics engineer Giacomo Tombolan, and painter/3D artist Mihaela Costisanu, with whom knowledge is shared and projects validated to drive innovative sound exploration and achieve technical excellence. But by taking a boutique approach to audio electronics, Jolin is able to meticulously craft each piece using the finest materials — carefully selected with both quality and longevity in mind — to ensure optimal performance, while working with artists and content creators like Blunted Spagetti, BRiES, Channel 37, and Alvaro Küper elevates the clarity and expression of its offerings, harmonising them with the distinctive vision and music style of each collaborator. Clearly, Jolin is intent on continuing to explore the interaction between humans and machines through the kaleidoscope of modular synthesizers, supporting a DIY mindset by also offering hands-on workshops, catering to everyone from absolute beginners to seasoned electronics engineers eager to explore analogue components and integrated circuits firsthand, as well as demonstrating its commitment to the global modular synthesizer community by being a consistent presence at international fairs.
© 2024 Jolin
EDINBURGH, UK: The Crow Hill Company is proud to announce availability of FILTH – GUITAR HIVE — heading up its FILTH sub-range of products produced and recorded at the Annex in Edinburgh, Scotland, its self-styled safe house packed with vintage equipment, rarified instruments, synths, processing, and potential, with the main emphasis being on creating more experimental sample projects that think out of the box and are the very antithesis of virtual instruments; in this case, guitar performances on a limited-edition Fender Telecaster by Theo Le Derf, D.I. (Direct Injection) recorded via a pristine Thermionic Culture The Rooster Valve pre-amp with EQ & attitude and mixed through countless processors to give users control over the uncontrollable, ultimately providing what all at the music-making community tools-maker collectively yearn for in the process… utter filth — as of December 18…
Now knowing what FILTH – GUITAR HIVE is positioned as being, best to take a function-highlighting, whistle-stop tour of its clearly considered UI (User Interface) implemented to take that musical mission to the musical masses, filthy or otherwise. On the face of it, the front panel-dominating ‘Obutsu!’ is basically a ‘filth’ dial, allowing users to effortlessly transform their sound with three simultaneous signals — from tasteful and pure D.I. to a crunchy deluxe amplifier, all the way to overdriven feedback and tempo-synced tremolo; SHIMMER is a dual-direction granular pitch shift fed into a massive reverb chamber, creating a cascading, shimmering veil of tone; DRIVE is an unmistakably distorted, crunchy signal, modelled after a tube amp that has been utterly misused; ECHO is a tape-based, multi-tap echo/delay that syncs to the host tempo — an associated speed control determines what subdivision of the beat the repeats play at; and SPLOSH is a suitably reasonable decaying reverb for anyone’s roomy needs.
Needless to say, general controls are also worth noting — namely, VOL adjusts the volume of the plug-in instance in question; TUNE, changes the tuning of the instrument; and METERS, effectively lets the user know that there is an issue with their routing if they can see something but cannot hear it. It goes without saying, of course, that a list of tempo-synced, performance-based sound sets are available for users to play with — and apply tweaks to — via the preset window, which is what FILTH – GUITAR HIVE really boils down to, after all.
“If The Cure, Cocteau Twins, Brian Eno’s work with Daniel Lanois and The Edge, Pat Metheny’s work with Steve Reich on ‘Electric Counterpoint’ are your thing, and if you use your shoes to gaze at more than walk on, then we think you’ve come to the right place.” So says composer Christian Henson, who founded The Crow Hill Company on the back of primarily working on television and film soundtracks, so clearly knows what he is talking about, adding: “Everyday working as professional musicians, songwriters, and composers gives us new challenges — new ‘what ifs’ and ‘if onlys’. Obviously, FILTH – GUITAR HIVE is no exception here, something we hope you agree becomes a ‘don’t know how I ever did without it.’
“Indeed, our main emphasis with FILTH is to create more experimental sample projects that think out of the box and are the very antithesis of virtual instruments,” continues Christian Henson, helpfully drawing things to an appropriate close with: “We see them more like a creative thread that we have handed over to you to weave into your work.”
FILTH – GUITAR HIVE is available to purchase for £29.00 GBP — as an AAX-, AU-, VST-, and VST3-format-compatible sample-based virtual instrument plug-in comprising over 5.0 GB of uncompressed material (compressed losslessly to 3.2 GB) that loads directly into a DAW (Digital Audio Workstation) — directly from The Crow Hill Company here: https://thecrowhillcompany.com/guitar-hive/
For more in-depth information, including some superb-sounding audio demos, please visit the dedicated FILTH – GUITAR HIVE webpage here: https://thecrowhillcompany.com/guitar-hive/
FILTH – GUITAR HIVE installation and activation requires installation of The Crow Hill App — an easy-to-use app designed by the best in the business to provide seamless download, installation, integration, calibration, and organization of The Crow Hill Company tools — available for free from here: https://thecrowhillcompany.com/crow-hill-app/
Watch Christian Henson’s illuminating introductory walkthrough video for FILTH – GUITAR HIVE here:
Access an ever-growing collection of free, professional tools and resources by simply signing up to become a Crow Hill member here: https://thecrowhillcompany.com/join-crow-hill/
About The Crow Hill Company (www.thecrowhillcompany.com)
Based in Edinburgh, Scotland, The Crow Hill Company is a small team obsessed with all things audio, existing to make tools that support the music-making community. From free plug-ins and resources all the way through to premium professional-grade libraries, its aim is to build and nurture an inclusive community of sound enthusiasts, music-makers, and VST (Virtual Studio Technology) advocates alike, all the while abiding by its motto: Make Music, Your Music
© 2024 Crow Hill Productions Ltd
MADRID, SPAIN: Heritage Audio is proud to announce availability of SYMPH EQ — executed as a stereo mix-enhancing plug-in that readily recreates its SYMPH EQ notable namesake released in hardware form to widespread critical acclaim as a single rack space-occupying master bus-/mastering-orientated unit taking its full (STEREO ASYMPTOTIC EQUALIZER) name from the shape obtained by its shelving curves (where the boosted or cut amplitude increases until the asymptotic value is reached, so sub lows and ultra highs are always controlled), having successfully replaced the Baxandall shelving EQ topology to which the vintage-sounding recording equipment developer originally turned for inspiration with a functional equivalent whose sound can only be described as tight, sweet, and natural — as of December 2…
It is fair to say that Heritage Audio’s 19-inch rack-mountable SYMPH EQ has pleasantly surprised every engineer, musician, and sound designer who has had the pleasure of making its acquaintance since its January 2021 release with an SSP (Standalone Selling Price) of €1,549.00 EUR (including VAT) in the EU and a MAP (Minimum Advertised Price) of $1,499.00 USD — an admittedly not unreasonable price point for effectively bringing back the Baxandall equaliser topology to a wider audience some 70 years after its introduction (when pioneering British audio and electronics engineer Peter J. Baxandall published a paper on what would become better known as the Baxandall tone control circuit — an inordinately ingenious way of obtaining high and low shelves with boost and cut option without using expensive rotary switches — in Wireless World magazine). Fast forward to today, though, and — after many months in the making — the SYMPH EQ plug-in is now available to anyone — including those with not necessarily such deep pockets — who wishes to bring their stereo mix to life with just a few minimal tweaks to the frequency response resulting in surgical-like precision. And all from the comfort of their favourite DAW (Digital Audio Workstation).
With that in mind, SYMPH EQ’s sound can, likewise, be best described as tight, sweet, and natural, ensuring that its users’ mixes will do them proud when held up against any other popular songs being heard today. The mix bus and master bus can clearly be given a whole new perspective and sense of depth, thanks to those tiny tweaks.
The M/S (Mid/Side) mode takes things to another level entirely, however — testing it out should leave no one in any doubt as to how quickly and efficiently they can mould their mix. After all, thickening and giving weight to all the material in the middle helps to solidify tracks and steady the groove, while lightening the information on the sides can extend the overall stereo image and provide more room for the mix to breathe.
But whether using SYMPH EQ in M/S mode, stereo, or even on a mono signal — for which an alternative ‘half rack’ size GUI (Graphical User Interface) is ideally included, setting up the plug-in is actually a very quick process, providing excellent results as the EQ curves themselves are very gentle. Get this though: using parallel equalising to obtain the desired response makes for exceptionally low phase deviation and negligible artefacts to produce a very natural-sounding effect.
Helpfully, Heritage Audio’s goal with its SYMPH EQ plug-in — as, indeed, is the case with its recently released SUCCESSOR plug-in — is to create a tool to channel creativity and put the focus firmly back on music production, which is exactly why the vintage-sounding recording equipment developer wants to reach as many users as possible by applying a pricing scheme that is both comprehensive and fair. For instance, all SYMPH EQ hardware owners can complete an online form (https://heritageaudio.com/sympheq-owners-form/) to redeem a native version of the SYMPH EQ plug-in for free, while that native version of the SYMPH EQ plug-in is also available for free to owners of any i73® PRO family products — offering varying I/O and features as the first ever USB-C audio interfaces with built-in Class A 73-style preamps — by being automatically added to their plug-in collection (here: https://users.heritageaudio.com). Fortunately for everyone else, a no-nonsense price of €99.00 EUR/$99.00 USD is guaranteed. But better still, perhaps, purchasers of the aforesaid SUCCESSOR plug-in can quickly qualify for purchasing SYMPH EQ at a discounted price of only €50.00 EUR/$50.00 USD by simply requesting a discount coupon (by sending an e-mail to here: users@heritageaudio.com). And as if those incentives are not enough to be getting on with, Heritage Audio is also announcing availability of THE MASTER BUS COLLECTION (https://users.heritageaudio.com/product/the-master-bus-collection/), bundling both SYMPH EQ and SUCCESSOR together for €149.00 EUR/$149.00 USD. Truly, then, the vintage-sounding recording equipment developer cannot say fairer than that.
The native version of SYMPH EQ is available to purchase — as a 64-bit AAX-, AU-, and VST3-format-compatible effect plug-in for MacOS (10.15.7 and higher, with both INTEL and Native Apple Silicon M1/M2/M3/M4s compatibility) and Windows (10 and 11) — directly from Heritage Audio here: https://users.heritageaudio.com/product/sympheq
An iLok account is required for SYMPH EQ activation. (If running SYMPH EQ in trial mode, note that the trial will be fully functional for 14 days after activation.)
About Heritage Audio (www.heritageaudio.com)
Heritage Audio was founded in 2011 by Peter Rodriguez. As a civil engineer and music producer, he went from building wind turbines to following his true passion — developing recording equipment with the vintage sound that he himself admired so much and so many others yearned for. Fortunately for all, he was able to master the key elements necessary to make high-quality recording gear affordable and reliable by combining his analytical mindset with his experience as a producer within a relatively short space of time. Today, the 15-person team has expanded its production plant located in the heart of Madrid, Spain, where it collectively continues to follow a philosophy of making vintage sound possible for today’s studios, successfully introducing innovative products to rank amongst the most popular brands with top retailers throughout the world.
© 2024 Heritage Audio
New bass-enhancing, clipping, limiting saturator from the makers of Master Plan
Los Angeles, CA (December 18, 2024) – Musik Hack is proud to introduce FUEL, an all-in-one bass-enhancing, clipping, limiting saturator that brings life to any session, any sound, and any vibe. It combines the best features of popular tools into a streamlined, versatile plugin, making mixing and production a joyride.
Key Features:
FUEL is made for producers looking for low-end weight, smooth dynamics, and powerful limiting; for mix engineers needing punchy, full mixes without the hassle of stacking plugins; and for artists, sound designers, and live performers ready to enhance their sound instantly.
With FUEL, the Musik Hack team offers a solution for a common problem: when you’re in the heat of production or mixing, you often reach for multiple tools; one for saturation, one for clipping, another for compression, and another for bass boosting. FUEL is all of those essentials in one place, powered by Musik Hack’s best-in-class DSP algorithms, and wrapped in a sleek, intuitive interface.
What makes FUEL unique?
FUEL already received high praise from producer SKIMMY (Avicii, Flo Milli, Thirty Seconds to Mars, Tay Money):
“Whatever is happing on this ‘Thick’ knob is juicy and I like it… a lot.”
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and NELLZ (Future, Young Thug, Jennifer Lopez, Lil Wayne):
“I knew that it would make my 808’s shake, but I was shocked at what it did to my synths. This saturation is out of this world.”
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Availability & Introductory Pricing:
About Musik Hack
Musik Hack is the brainchild of Grammy-nominated producer and engineer Stan Greene, and composer / plug-in developer Sam Fischmann.
Stan has mixed records on Billboard #1 projects such as Rihanna’s “Anti”, Big Sean’s “Dark Sky Paradise”, and Wale’s “The Album About Nothing”. He’s also worked on O.T. Genasis’s multi-platinum smash hit singles “CoCo”, “Cut It”, and “Push It’, Jaden Smith’s multi-platinum single “Icon”, and songs from Pharrell, Saweetie, and Busta Rhymes. He is a protege of Manny Marroquin, who he worked with at the renowned Larrabee Recording Studios.
Sam is a seasoned software developer whose portfolio spans audio/DSP, Web development, and embedded systems. He’s also a composer and longtime musician. Sam is obsessed with building creative, functional, major-label-quality products that don’t look like airplane cockpits. If you ask nicely, he can also cook up a mean marinara…
Alex is a software developer whose career was in the financial services industry before finding programming. Alex handles Musik Hack’s Web development, APIs, payments & product authorization, and spends a lot of time listening to music, baking bread, and thinking about elevators.
Expressive and melodic soloists augment the Berlin Strings series
Evocative, articulate, and versatile—virtuoso string soloists for any occasion
Orchestral Tool’s Berlin Series has set an industry standard for realism and playability in orchestral sample libraries. Based on these principles, Orchestral Tools has created a comprehensive virtual orchestra comprising 20 detailed collections. The latest addition to the series is Berlin Solo Strings—four expressive and detailed solo instruments designed for melodic leads.
The four different instruments—Violin I, Violin II, Viola, and Cello—offer a combination of intuitive playability and detailed control. Each has a rich, sophisticated sound that shines when performed solo, but is equally at home handling melodic duties in front of bigger sections. The four instruments also make an ideal quartet. Berlin Solo Strings was captured at the Teldex Scoring Stage, Berlin, ensuring seamless integration with all Berlin Series collections, as well as any other Orchestral Tools libraries recorded at Teldex.
Berlin Solo Strings offers three playing styles or ‘moods,’ each designed to provide a distinct sound and emotional style of play tuned to different compositional needs. Expressive is ideal for soaring melodies and searing emotional intensity. Cinematic is designed for general purpose scoring, offering a versatile sound that covers many emotional states without being too loud or too soft. Sul Tasto is designed for restraint and subtlety—for when a piece requires gentle, nuanced playing. Each comes with its own dedicated legato, automatic note transitions, and vibrato control for a seamless, intuitive playing experience.
As with all OT libraries, Berlin Solo Strings comes with a wealth of articulations. In addition to the legatos and sustains of each mood, Berlin Solo Strings also includes FX sustains, three different marcatos, staccato, spiccato, and pizzicato. There is also a separate folder of dynamics and ornaments for each instrument containing swells, repetitions, tremolo, and trills. Importantly, articulations are consistent across the entire collection.
“The Berlin Strings series is still our gold standard for orchestral strings, and it is one of our most popular series. We’re pleased to add these expressive soloists with Berlin Solo Strings,” says Orchestral Tools CEO Hendrik Schwarzer. “These are some of the most detailed and vividly playable string sounds we’ve ever produced, and we’re eager to hear how they will inspire composers.”
For more information and to purchase Berlin Solo Strings, please visit: https://orchestraltools.com/berlin-solo-strings
About Orchestral Tools
Orchestral Tools is a forward-thinking sample library development team with offices in Berlin and Freiburg, Germany. Originally founded in 2005 by Hendrik Schwarzer, the company creates premium-quality sampled instruments that encompass both the traditional orchestra as well as modern sound design, with influences from classic film scores, contemporary orchestral music, post-punk, field recordings, and musique concréte. In addition to creating flagship libraries that have become industry standards such as the Berlin Series and Metropolis Ark collections, Orchestral Tools has also worked alongside industry luminaries such as Benjamin Wallfisch, Harry Gregson-Williams, Bleeding Fingers, Richard Harvey, and Alexander Hacke to expand and challenge the definition of ‘the orchestra’.
DUESSELDORF, GERMANY: truly analog-sounding plugins developer Fuse Audio Labs is proud to announce availability of OCELOT Limiter as a brand-new dynamic tool that does not just make audio louder, but also makes smarter decisions about when to limit and when to hold back — thanks to the plugin’s utilization of advanced psychoacoustic analysis to ensure mixes stay clean and punchy while maximizing loudness, its intelligent approach helps users push levels without the usual artifacts of traditional limiters — as of December 18…
As a switchable soft clipper catches isolated peaks at the start of the processing chain, the limiter’s workload is reduced, resulting in louder output with less pumping and exceptional transparency. That said, it adds a touch of aggressiveness when pushed further, delivering a punchy and polished sound without introducing obvious distortion.
The true peak feature of OCELOT Limiter ensures precise control by adhering to the ITU-R BS.1770 standard. Since this mode anticipates inter-sample peaks that could cause distortion when the signal gets converted to the analog domain, audio is kept clean and accurately below the threshold level — invaluable for mastering and all tasks where pristine sound quality is critical.
Courtesy of five selectable algorithms, the plugin precisely adapts to any source material, offering tailored responses from the limiter and soft clipper. And the 1:1 and ∆ (delta) listen feature allow users to fine-tune for optimal signal integrity. Indeed, NOISE SHAPING, DITHERING, and QUANTIZATION further enhance its versatility, making OCELOT Limiter the ultimate tool for adding power to tracks and masters.
“In an ever-growing sea of plugins, a select few stand out as essential tools you rely on in every session; these gems enhance your workflow with their powerful features and intuitive interfaces, building the core of your personal sound.” So says Fuse Audio Labs CEO Reimund Dratwa, before moving somewhat closer to home: “The new OCELOT Studio Series puts these tools right in your hands, delivering cutting-edge low CPU, zero or low-latency studio essentials built with top-notch DSP tech… more coming soon!”
OCELOT Limiter is available at a significantly discounted introductory promo price of only $29.00 USD until January 18, 2025 — rising thereafter to its regular price of $69.00 USD — directly from its dedicated webpage, which includes more in-depth information, here: https://fuseaudiolabs.com/ocelotlimiter.html
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
About Fuse Audio Labs (www.fuseaudiolabs.com)
Fuse Audio Labs is a number one source for truly analog-sounding plugins designed for the daily demands of real-world musicians and engineers. As an acclaimed company, it was founded in 2017 by Reimund Dratwa, deeply knowledgeable as an expert in translating complex analog topologies into top-tier DSP code. Creating a huge portfolio of leading modeling titles over the years for brands like ACME, Black Box, Black Rooster, elysia, Millennia, Neold, Vertigo, and many others available via Plugin Alliance and the UAD-2 platform, his own designs remain 100% pure Fuse Audio Labs.
© 2024 Fuse Audio Labs
TAMPERE, FINLAND: having opened eyes and ears with show-stopping showcases at SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany and Machina Bristronica, October 12-13, Bristol, UK, Supercritical is proud to announce availability of its inaugural desktop instrument in Redshift 6 — self styled as a 6 voice Variable Character Synthesizer that combines technology from the budget travels in time and space-offering Finnish synthesizer manufacturer’s previous Demon Core Oscillator and Neutron Flux Filter products, each of its six voices featuring a DCO (Digitally-Controlled Oscillator) that can create up to 16 analogue oscillators per voice with analogue waveforms generated under digital control — as of December 16…
Supercritical’s self-styled 6 voice Variable Character Synthesizer wording — which is subtly featured on the front panel of the desktop instrument itself by way of optical reinforcement — effectively encapsulates the Redshift 6 concept. Consequently, the analogue path of each of its DEMON CORE OSCILLATOR-based six voices is under strict digital control in terms of tuning, gain staging, filtering, and more. Moreover, Redshift 6 has a lush- and warm-sounding sweet spot that is inspired by classic analogue polysynths, but it also runs the full gamut from almost digitally sterile and clean to distorted behaviour and beyond.
Digging deeper, the filter core is an analogue 4-pole VARIABLE CHARACTER FILTER that is also digitally controlled to act like almost any classic vintage synthesizer filter and more besides. But in addition to the oscillators and filters, Redshift 6 has all the features expected of a modern synth — think modulators aplenty, flexible voice routing, (six-part) multitimbrality, MPE (MIDI Polyphonic Expression), and (bypassable) stereo DSP (Digital Signal Processing) effects.
Elsewhere, Redshift 6’s six voices can be configured in a variety of ways — choose between true six-voice polyphony, classic vintage poly dual layer mode with 3+3 voices, six individual voices (each with their own patch and physical output), or any combination thereof. Those six voices can each also operate as a paraphonic voice with up to 16-note paraphony. And as if that is not enough to whet any serious synthesist’s appetite, multiple filters can be chained by routing audio from one voice to another.
Supercritical spent time — time that was well spent, clearly — realising Redshift 6’s physical form factor as a modern, compact — 378 mm (W) x 254 mm (D) x 63 mm (H) — desktop device with a 2.7-inch TFT (Thin Film Transistor) IPS (In-Plane Switching) colour screen surrounded by eight endless clickable potentiometers. Thanks to quick navigation via the shortcut button grid, menu diving is kept to a minimum, while a selection of familiar synth controls — DCO, VCF (Voltage-Controlled Filter), and AMP (amplifier), to name but the basics — are featured throughout the front panel. Put it this way: assigning modulations is equally easy and speedy with the modulation grid providing access to modulation source parameters, and all the assigned modulations can be edited via the MOD MATRIX. Meanwhile, a MACRO mode with six user-assignable buttons is included.
It is fair to say that Redshift 6’s slimline back panel packs in a lot of features for interacting with the outside world, including MAIN OUT (L and R) fed by the DSP effects, AUX OUT 1 (L and R), and AUX OUT 2 (L and R) — all on 6.3 mm jacks, alongside a modern MIDI (Musical Instrument Digital Interface) implementation with DIN IN/OUT and USB-B connection — not forgetting, of course, the headphone output.
One of the major design considerations of Redshift 6 is to facilitate a versatile and capable analogue platform with a flexible UI (User Interface) for accommodating new engines, easily updatable via software. Since its oscillators can currently go from traditional twin oscillator to supersaw behaviours while living in perfect harmony with the multimode filter, as well as incorporating various different character profiles — and all this in user-friendly ways that are easily controllable and modulatable, the relatively diminutive desktop Redshift 6 is already punching above its weight. Weighing in at 3.5 kg in actual fact, an exciting future surely lies ahead for Supercritical’s inaugural desktop instrument.
Priced at £1,099 GBP (including VAT)/€1,259.00 EUR (including VAT)/$1,349.00 USD, Redshift 6 is available through Supercritical’s growing global network of distributors, as listed here: https://supercriticalsynthesizers.com/where-to-buy/
For more in-depth info, including technical specifications, please visit the dedicated Redshift 6 webpage here: https://supercriticalsynthesizers.com/redshift6/
About Supercritical (www.supercriticalsynthesizers.com)
Supercritical is a Finnish synthesizer manufacturer that offers budget travels in time and space. Specifically, the company was founded in 2019 with the intention of producing modules for the Eurorack standard. Starting with the Demon Core Oscillator, an MDCO (Multiperiod Digitally Controlled Oscillator) technology-driven affair effectively producing a staggering 16 analogue voices that can be controlled separately, its Neutron Flux Filter followup is an 8 Pole Variable Character Filter that can be run as stereo 4-pole filters or as a chained 8-pole mono filter. Taking things to a whole new level, the company has now combined those sonic innovations into the ultra-flexible Redshift 6, a self-styled Variable Character Synthesizer representing its inaugural desktop instrument.
© 2024 Supercritical Synthesizers
Tape J-37 opens up a world of sonic possibilities that go beyond simple tape emulation. From adding subtle warmth and cohesion to full mixes to crafting unique tones on individual tracks, this tool brings vintage magic to your fingertips.
_Unrivalled sound quality
_Inviting and intuitive interface
_Additional tools to process your sound
Tape J-37 opens up a world of sonic possibilities that go beyond simple tape emulation. From adding subtle warmth and cohesion to full mixes to crafting unique tones on individual tracks, this tool brings vintage magic to your fingertips.
Tape J-37 faithfully recreates the legendary Studer J37, an all-tube, 4-track analog tape machine renowned for its Swiss engineering and user-friendly design, which helped define the sound of the 50s, 60s, and 70s.
The J37 model we modeled comes from Studio Barclay, the iconic “Abbey Road” of French music, where legendary artists like Édith Piaf, Serge Gainsbourg, and Jacques Brel recorded, embodying decades of musical history and artistry.
The Studer J37’s 200+ vacuum tubes create its iconic warmth, harmonic richness, and natural compression, qualities faithfully recreated in Tape J-37 to give modern tracks the soulful, hi-fi warmth and unique coloration of true analog tube amplification
Choose from four distinct tape color modes: pristine, warm, driven, and dirty. Each represented by a unique animated tape reel. Engage “Modern Mode” to lift natural tape hi/low filtering, offering a clearer, more present sound while retaining the saturation level.
Influence the physical behavior of tape with the play and stop controls, adding a touch of realism and interactivity to your workflow. Play with the tape-stop for a classic slow-down effect!
Switch between the two tape playback speeds of the original J37. Higher speeds enhance fidelity and brightness, while slower speeds create a darker, warmer tone.
Monitor your input level and Total Harmonic Distortion (THD) with an authentic VU meter that reacts dynamically to your signal
Simulate the subtle differences between tape channels with the stereo offset control. Enable dispersion between the left and right channels to enrich your stereo image and add depth to your mix.
Got multiple plugins in use and needing to conserve CPU? Tape J-37 lets you turn-off the spinning tape animation for a more streamlined CPU load.
Use Noise and Instability Control to introduce authentic tape characteristics. Add tape noise for vintage realism and simulate mechanical wear and tape speed variation for some wow and flutter
Fine-tune the EQ to sculpt your band levels and introduce resonance. Shape frequencies to alter their overall presence in the mix and achieve your desired sonic balance.
Add space and movement to any sound with the built-in delay. Introduce subtle phasing and flanging effects or create a slapback delay to bring life to recorded instruments.
With four tape “colors” and a drive control, you can find the perfect mix of clarity or crunch, giving each track exactly the texture it needs. Imagine deepening a bass line or adding vintage warmth to a drum loop—this feature offers you endless tonal possibilities to bring out the best in each sound.
It bypasses the classic high-frequency roll-off, keeping the top end bright and letting you tailor saturation more precisely. Ideal for retaining punch on drum tracks or adding subtle warmth to your master bus, Modern Mode blends analog charm with digital clarity.
_Bring more character to your sound with custom calibration
Add authentic, tape-like imperfections to your sound with adjustable stability, noise, and delay settings. A touch of movement or phasing can add life to hi-hats, while full noise and instability can give your piano that lo-fi charm.
With pre- or post-tape EQ options, can carve out the tone you need. Boost lows before tape for extra saturation or roll off highs after tape for a vintage, softened feel. The EQ module lets you shape each element of your mix, whether it’s fattening up the kick or softening the highs on a piano, helping you get your sound just right.
Recreate that authentic analog spread with ST Offset, which measures and mimics the slight dispersion between channels. Toggle it on for the natural stereo movement of tape, or turn it off for a stable, centered sound. This feature is perfect for poly synths or stereo tracks, bringing analog-style width and life to your music at the click of a button.
Available now $99 (Demo also available)!
https://www.arturia.com/products/software-effects/tape-j37/overview
London, 17.12.24 – GForce Software proudly presents the IconDrum, our homage to the legendary Linn drum machine revising the concept for today’s digital age. The IconDrum provides a bridge connecting the iconic sounds of the early 80s with the creative possibilities offered by modern rhythm creation methods.
A lasting legacy into the heartbeat of music history
Like the Oberheim DMX drum machine, the original Linn hardware has left an indelible mark on the soundscape of popular music, crafting the rhythmic foundation of timeless tracks across a spectrum of genres.
From the unmistakable pulse of Prince’s “1999” and Michael Jackson’s “Thriller” to the iconic beat driving The Human League’s “Fascination”, the LinnDrum defined an era. Its rhythms laid the foundation for a-ha’s “Take On Me,” Madonna’s “Lucky Star,” and Billy Idol’s “Eyes Without a Face,” shaping the unmistakable sound of the ’80s. Even Peter Gabriel’s “Sledgehammer” and Stevie Nicks’ “Stand Back” owe their groove to this iconic drum machine.
We’ve included all the original LinnDrum sounds, maintaining their unique character that propelled these classic tracks. The IconDrum also offers a wide array of precisely engineered alternatives, expanding the classic LinnDrum sound set to inspire both nostalgic recreations and fresh, innovative productions.
Revisiting the past, redefining the future
The IconDrum is more than just a drum module; it’s a tribute to the machine that defined an era and a gateway to the rhythms of tomorrow. Designed for those who cherish the timeless sounds of the original yet seek to push creative boundaries, the IconDrum invites you to explore the essence of the classic in a modern context.
Kickstart your inspiration with an extensive collection of iconic MIDI pattern files, expertly constructed to honour the rhythms that shaped music history. These rhythms, ready to be revised or reimagined, provide the foundation to blend vintage flair with contemporary style in your productions.
We’ve also included kits that capture the raw sound of the original, as well as professionally processed kits primed for instant integration into your work. With the IconDrum, rhythms of the past become the pulse of the future..
An Icon Reborn, A New Beat Awaits
Step into a realm where classic grooves and cutting-edge possibilities meet. With the IconDrum, unlock rhythms that throb with the spirit of the past, sculpted by the precision of modern technology.
Recreate iconic beats or transform them into something uniquely yours, all while embracing the timeless sound that has defined rhythm for generations.
GForce IconDrum – key features
Legal: All trademarks, service marks and company names are the property of their respective owners. LinnDrum is a trademark of Linn Electronics. All instrument names and inventor references are included solely for illustrative and educational purposes, with no implied affiliation or endorsement of IconDrum by any company or instrument inventor. This product was created without the involvement or consent of Roger Linn.
More info
https://www.gforcesoftware.com/products/icondrum
Price
GForce IconDrum £49.99+VAT with an intro price of £24.99+VAT
Compatibility
Mac: Standalone Application, AudioUnit, AAX, VST and VST3
PC: Standalone Application, AAX, VST and VST3
The Minimum System Requirements for Mac are as follows:
The Minimum System Requirements for PC are as follows:
About GForce Software Ltd.
Specializing in vintage synthesizer modelling, GForce Software offer a range of products with the most authentic sonic and musical quality in the virtual arena. Our mission is to inspire composers and producers by providing well crafted instruments and sounds; and to nurture those aspiring to learn and grow during their musical journey.
