HAMBURG, Germany — Steinberg has today announced the release of several preview versions supporting Windows on Arm, which have specifically been developed and tested on devices powered by Qualcomm’s Snapdragon X Elite processors.

Recently shown at the Snapdragon Summit, these preview versions enable Steinberg customers using Windows 11 to run Cubase 13, Nuendo 13, HALion 7, HALion Sonic 7, Groove Agent 5, Retrologue 2 and Padshop 2 natively with Snapdragon X CPU technology. And through the use of Microsoft’s Arm64EC technology, many existing x64 VST 3 plug-ins can be run unchanged under emulation within Cubase 13 and Nuendo 13, preserving customer investments.

“Thanks to our continued partnership with Microsoft, we’re excited to announce that our DAWs and a selection of our virtual instruments for discerning musicians, producers and engineers are available in preview for Snapdragon X PCs today,” says Director of Engineering Ralf Kuerschner. “By supporting Windows on Arm, we’re expanding our software applications to new computing environments, delivering more freedom to our customers to use the system of their choice.”

Availability

The Windows on Arm preview installers as well as a preview of the Yamaha Steinberg USB

Driver for Windows on Arm are available from the Steinberg Download Assistant in the Complementary Products category, as well as from the Steinberg Support pages.

These available previews have undergone extensive testing but are not yet fully optimized. Therefore, they cannot ensure the same level of stability and performance which customers running Steinberg’s officially supported platforms are used to.

About Steinberg Media Technologies GmbH

Steinberg is known the world over for its music and audio software and hardware solutions. The company has been developing, manufacturing and selling innovative products for musicians and producers in the music, film, post-production and multimedia industries since 1984. Steinberg products are used by Grammy and Oscar award-winning composers, engineers and producers.

CHICAGO, ILLINOIS, USA: Black Lion Audio is proud to introduce its 4 Channel Line Selector-labelled LS-4 — launched as a mini-format multi-purpose device designed to allow anyone to connect a stereo source and send it to up to four different devices (with the same source signal even being able to be sent to all four destinations simultaneously, or any combination thereof), readily representing an impressive, inexpensive option for passive monitor switching, headphone distribution, parallel effects routing, and more — as of October 10…

Though the LS-4 is small and simple in its execution as a 4 Channel Line Selector, it has, however, limitless practical and creative potential, including — but not limited to — passive monitor switching with subwoofer toggle (by connecting three pairs of studio monitors to outputs A, B, and C, and connecting a subwoofer to output D); headphone distribution (by connecting the headphone output of an audio interface to an LS-4 input and connecting all LS-4 outputs to headphone amps); effects chain auditioning (by running a dry signal into the LS-4’s inputs, connecting different effects processors to outputs A through to D, and connecting the effects processor outputs to the inputs of an audio interface, then pressing buttons A through to D to audition applying different effects processors to the signal); and parallel effects routing (by connecting different effects processors in the same configuration as the aforementioned effects chain auditioning, also allowing for simultaneous recording of all four parallel processed signals into a DAW). It is worth pointing out here that LS-4’s 100%-passive design does not add any tone coloration to the signal, while a flexible ground lift is available internally per channel.

Clearly the Chicago-based boutique audio company did not let LS-4’s small size affect its build quality; like all Black Lion Audio products, it is built road-tough — think steel enclosure with an anodized black aluminum faceplate, paired with high-quality ¼-inch connections to ensure maximum conductivity and secure connections. All add up to make for an impressive, inexpensive option for passive monitor switching, headphone distribution, parallel effects routing, and more.

LS-4 should start shipping through Black Lion Audio’s growing global network of dealers/distributors (https://www.blacklionaudio.com/dealers) with a MAP (Minimum Advertised Price) of $149.00 USD and an SSP (Suggested Selling Price) of €199.00 EUR (including 19% VAT) in late October 2024.

For more in-depth information, please visit the dedicated LS-4 webpage here: https://www.blacklionaudio.com/store/essentials/ls-4/

About Black Lion Audio (www.blacklionaudio.com)
Founded in 2006, Black Lion Audio is a boutique audio company based in Chicago. Collectively it takes pride in providing customers with outstanding quality gear for their recording studios at prices that are ridiculously affordable. As such, the company has built a reputation for supplying superior quality sound in a cost-effective manner within the space of a few short years. Yet, given the current economic climate, it is no wonder that major labels, project studios, software companies, and high-profile tracking and mix engineers make up a significant portion of the company’s client base. Indeed, its work can be heard in award-winning major motion picture scores and soundtracks, major television shows and commercials, as well as being utilized by prestigious organizations and major label acts alike.

© 2024 Black Lion Audio

EDINBURGH, UK: The Crow Hill Company is proud to announce availability of GLASS STRINGS — distilling decades of award-winning experience in the music tech sector and at the composing coalface into an easy-to-use intuitive and comprehensive plug-in and interface acting as a love letter from one composer making tools for other composers, readily representing its definitive string library by drawing upon the talents of a small ensemble of musicians who could bring their own personality, creativity, and open-mindedness to bear upon the sampling process by making every note sound different, duly delivered as the music-making community tools-maker’s first key-switch instrument whereby up to eight different articulations can be loaded up into a single preset with a single uniform balance of microphones and processing — as of October 24…

But better understanding the love letter that is GLASS STRINGS surely warrants a better understanding of the inquisitive musical mind that drove it into existence… enter composer Christian Henson: “I recently set up Crow Hill with the sole purpose of making our working lives more fun. I don’t like faffing around with tech. If you give me a turd I won’t polish it. Call me a philistine — or maybe it’s because my music is always smothered by a duvet of dialogue, I care less about perfect intonation, number of round robins, and thousands of dynamic layers and more about being here for the duende, as the Spanish call it. Being a die-hard journeyman — a hack — means I don’t have time for mic positions, legato transitions, and what-not. These always sound too time consuming, and that the time spent working with them wouldn’t be fun. I’ve spent 25 years writing scores with samples and this is — selfishly — what I need, and — having met loads of you — what you have all said you needed, too. This library is not about putting musicians out of work. Quite the contrary, it’s about giving you a sense of how much they bring to our music and how joyous, fun, and inspiring they make our jobs.”

Makes musical sense, surely? After all, with creativity comes innovation. It is with these very thoughts in mind, then, that The Crow Hill Company commissioned a small ensemble of highly-capable musicians — namely, The Scottish Session Orchestra’s Greg Lawson (1st violin), Cheryl Crockett (2nd violin), Tom Dunn (Viola), Alice Allen (Cello), and Nikita Naumov (Double Bass) — to bring their own personality, creativity, and open-mindedness to bear upon the sampling process. Put it this way: GLASS STRINGS is the result of extensive workshops, whereby those musicians were asked to throw out all preconceptions about how to approach the recordings in favor of only adhering to one simple rule of making every note sound different. It is fair to say that everyone involved brought new ideas and novel playing styles to the production table, bouncing off each other to create an extraordinary set of tools. The whole library was masterfully tracked by GRAMMY Award-winning producer/engineer and SAE Glasgow graduate David Donaldson — to a single brief that clearly could not be more to the point: to hear each individual player.

Radical root recordings notwithstanding, there is more to this easy-to-use intuitive and comprehensive plug-in and interface than a quick glance might initially imply. Indeed, if it is not on the front panel then users will not need it, yet one particular control is actually responsible for the library’s name. Digging deeper, the brains behind GLASS STRINGS have struggled for decades with the foibles of sampled strings and the fact that frequency peaking prevents them being as dynamic as real orchestras. On the face of it, the answer that the head of The Crow Hill Company’s world-class production and engineering team came up with is GLASS STRINGS’ GLASS EQ control. Although at first listen it may appear to act like a filter or EQ module, it is, in fact, much more impressive than that since it is actually a way of managing — reducing or boosting — the fundamentals of each and every note to allow for brighter or warmer tones, but also ensures users can give their listeners a true sense of the explosive power of a string band. Simply switch on GLASS EQ, play with its associated — MIX (reduces/boosts fundamental levels), AMOUNT (determines width of harmonic series), and SHAPE (determines bandwidth around fundamentals) — controls, and prepare to be amazed.

As if that was not ear-opening enough in itself, GLASS STRINGS is duly delivered as The Crow Hill Company’s first key-switch instrument whereby up to eight different articulations can be loaded up into a single preset with a single uniform balance of microphones and processing. Prepared presets to get users going with intimate mixes for pop tracks to full-scale Hollywood widescreen epic-ness are the order of the day here. However, The Crow Hill Company has also developed a choice of presets suited to those who have different workflows and approaches, including single-articulation presets that have the key-switches removed — perfect for those who play fast and loose with the bottom-end of their controller keyboard.

This time, The Crow Hill Company has opted to split the GLASS STRINGS library into a slightly different hierarchy than was the case with its previous outings, organizing those presets by the three key categories of articulation type that are available: SHORTS — shorter notes and plucks that are, by default, controlled largely by velocity, which determines the loudness and timbre of the tone; LONGS — looping long notes playable as solo lines or, indeed, chords, the loudness and timbral variation of which are controlled with the modulation wheel or a fader controller assigned to CC001; and, unique to The Crow Hill Company, GESTURES — little cells of performance that bring humanity to the music being made, meaning timbral differences are largely determined by the performance of the players even though the modulation wheel or CC001 can control that to a certain degree as well. Worth pointing out here is that though the mainstay of GLASS STRINGS was recorded as a — 1st violin, 2nd violin, Viola, and Cello — quartet, Nikita Naumov’s Double Bass was recorded as an overdub, available on all articulations by simply switching on the BASS and effectively dialing him in as desired. And associated MIX (adjusts level of bass overdubs), POSITION (pans bass overdub), and DISTANCE (adjusts mic balance of bass overdubs) controls are always at hand to independently blend in a Double Bass performance. Put it this way: with 10 SHORTS, nine LONGS, and 12 GESTURES — all as imaginatively titled as they are inspirational — on offer, rest assured that duende is far from being on short supply while playing GLASS STRINGS, regardless of whether that BASS is switched on or not.

Needless to say, GLASS STRINGS far from disappoints, specification-wise, with edited highlights above and beyond that which has already been mentioned in that regard reading as follows: three mix-ready stereo signals — CLOSE, WIDE, and AMBIENT; four unique reverb algorithms — with self-explanatory MIX, SIZE (adjusts length of reverb decay), and REFLECT (early reflection) controls; and master processing tools — including STEREO WIDTH (adjusts pan/stereo width of plug-in), MONO FILTER (adjusts frequency at which signal folds to mono), and ROOM TONE (continuous room tone amount).

As Christian Henson himself considerately concludes: “There is a dual purpose to this library, other than me getting my own way as a composer and developing with the amazing musicians and talent at Crow Hill… finally, a library that will do everything you need to create seminal string music — whether that be for film, TV, computer games, or pop tracks; there is a secondary desire to share my self-taught understanding of making music that tells stories to people who fear that they are unable to do that. I want to prove there is nothing to fear. This objective meant we shouted and rowed about the price of this, but inclusivity and diversity of experience and spirit in our art-space is key to its survival. So here it is: GLASS STRINGS, my love letter to music makers, including the ones who don’t even know it yet. Be an individual and create a lens of your own to tell stories through. I really hope you like it, and all the stuff that follows.”

GLASS STRINGS is available to purchase for a time-limited introductory promo price of £149.00 GBP until December 1, 2024 — rising thereafter to an RRP (Recommended Retail Price) of £199.00 GBP — as an AAX-, AU-, VST-, and VST3-format-compatible sample-based virtual instrument plug-in comprising 37.58 GB of uncompressed material (compressed lossless to 17.9 GB) that loads directly into a DAW (Digital Audio Workstation) directly from The Crow Hill Company here: https://thecrowhillcompany.com/glass-strings/ (Note NKS — NATIVE KONTROL STANDARD® — compatibility is coming soon.)

GLASS STRINGS 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 an informative introductory overview of GLASS STRINGS — The Crow Hill Company’s definitive string library — with Christian Henson here:

Free sounds for all are available 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

MELBOURNE, AUSTRALIA: leading audio technology innovator Freqport is proud to formally introduce its FreqInOut FO1 as a revolutionary device that beautifully bridges the gap between high-quality outboard and seamless digital workflows by removing the complexities of connecting any kind of outboard equipment to a DAW (Digital Audio Workstation) — whereby outboard gear is connected to the hardware device itself, and the FreqInOut plug-in is opened on an insert, send, or instrument channel in the DAW effectively resulting in the outboard gear appearing as a plug-in, providing audio producers, musicians, and studio engineers with an all-in-one, simple solution, all without the hassle of dealing with advanced setup, routing, latency, and timing issues when recording — as of October 10…

“FreqInOut FO1 is more than just a product; it’s a paradigm shift in how analogue and digital can coexist in the studio and clearly shows how the new Analog Harmony Core Technology works.” So says Freqport CEO Aran Gallagher, perfectly positioned to formally introduce FreqInOut FO1 to all, adding: “It allows producers to capture the authenticity of analogue sound while enjoying the convenience and precision of digital control, meaning less time troubleshooting and more time creating.”

Clearly, then, there is more to FreqInOut FO1 as a user-friendly hardware interface than might first meet the (untrained) eye. After all, the device does little to give the game away as it is somewhat streamlined in its appearance with four ¼-inch jack audio inputs (+18dBu levels with -10dBV/+4dBu) and audio outputs (+18dBu levels, with ANALOG MATRIX per output) — labelled Line Inputs (1 through to 4) and Line Outputs (1 through to 4) — visible on its rear panel, positioned alongside a USB-C port for computer connection. It is fair to say that connecting any kind of outboard equipment — encompassing channel strips, compressors, EQs, drum machines, guitar pedals, patch bays, saturators, synthesizers, and more — to a DAW for control and integration through the FreqInOut plug-in is easy.

Effortlessly enhancing audio workflow with the FreqInOut plug-in is really at the heart of working with FreqInOut F01. For example: enable Mid/Side mode to work with stereo field or mono separately; utilize the Hardware MIX feature for parallel processing of any connected hardware gear, mixing dry and wet signal paths; fine-tune gain staging; effortlessly experiment with unique effect pedal routings or mix analogue and digital synths when adding FreqInOut FO1 to an existing patch bay matrix… the creative possibilities are endless. It is even possible to take a photo of connected equipment and settings by simply scanning the QR code in the plug-in to create custom skins within the plug-in itself! Moreover, multiple analogue processing circuits within the FreqInOut FO1 hardware allow more than one audio signal to be processed in multiple instances at the same time within that digital workflow, with the onboard 32-bit pro-grade ESS converters supporting up to 192kHz sample rate.

Above and beyond removing the complexities of connecting any kind of outboard equipment to a DAW for control and integration through the FreqInOut plug-in, FreqInOut F01 is equally at ease working with an existing audio interface to add four more inputs and outputs — eight if connecting two FreqInOut FO1 boxes — to enable expansion with those powerful FreqInOut FO1 features enhancing an audio setup seamlessly. Whatever way anyone chooses to work with it, using the built-in hardware ANALOG MATRIX makes reconfiguring the signal flow through their outboard equipment an effortless experience, and all without adding latency.

Readily representing a first-of-its-kind product, FreqInOut FO1 provides its users with unparalleled flexibility and control, letting creativity flow forth for all to hear without technical limitations. As a visionary step forward, Freqport views its introduction as part of a wider vision to redefine the audio landscape. Indeed, its innovative approach combines the best of analogue and digital technology, making professional-grade sound accessible and intuitive. Its modular design and scalability means FreqInOut FO1 is surely set to become an indispensable tool for both home studios and professional environments alike, setting a new standard for the future of pro audio equipment in doing so — an incredible achievement… all the more so considering its diminutive (W: 220mm x D: 105mm x H: 43mm) dimensions, while weighing in at a little under 1.0kg!

FreqInOut FO1 will be available for purchase starting in November 2024 at a retail price of $599.00 USD, while pre-orders start immediately through Freqport’s website (https://www.freqport.com/) and authorized dealers worldwide, with US distribution being handled via RAD Distribution (https://raddist.com/en/brands/freqport).

A rack-mount kit will be available as an optional extra — especially useful if purchasing two FreqInOut FO1s for expanded eight-channel I/O capability.

FreqInOut FO1 supports all major DAWs and operating systems — see: https://support.freqport.com/portal/en/kb/articles/supported-systems

About Freqport (www.freqport.com)
Founded by industry veterans, Freqport is an audio company dedicated to simplifying audio production and enhancing sound quality with a focus on merging analogue warmth with digital precision. Products are engineered for audio professionals who demand both performance and usability. Ultimately, the company continues to innovate at the intersection of hardware and software, driving the evolution of music production technology.

© 2024 Freqport Pty Ltd

PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce availability of Biverb from founding partner SounDevice Digital — duly designed to elevate mixes and bring depth to soundscapes as a cutting-edge effect plug-in packing two independent reverbs to offer unparalleled flexibility and creative control, making it the ultimate tool for any producer or sound designer — as of October 8…

Two become one
Sometimes single reverbs cannot handle more taxing tasks. That is exactly why SounDevice Digital developed Biverb, boasting two independent reverbs realised as a single cutting-edge effect plug-in. Put it this way: with its identical REVERB 1 and REVERB 2 ‘units’ each offering a wide range of meticulously crafted algorithms — including CHAMBER, HALL, PLATE, ROOM, SHIMMER, and SPRING, rest assured that Biverb users are able to blend and layer different reverb textures to achieve complex and evolving soundscapes with the greatest of ease. Effectively following in the fanciful footsteps of Pluralis (https://unitedplugins.com/Pluralis/) — duly delivered by SounDevice Digital last year to widespread critical acclaim as a delay plug-in like no other on account of its uniquely layered delay design with several modes to split the signal so users can apply different delays to different audio areas to achieve radical-sounding results that they could hitherto have only dreamed about, the unique power behind Biverb is, similarly, rooted in the way that it splits the signal. Separate or different combinations are, again, the order of the day when it comes to processing, only this time the signal is distributed to those two reverbs ‘units’ using a clever CROSSOVER system with four different modes of operation.

Splitting signals
Biverb benefits users with creative CROSSOVER choices: LEFT / RIGHT — splits the signal in a more traditional way, whereby users can apply REVERB 1 to the left channel and REVERB 2 to the right, representing a great way to get extreme effects at the outer edges of a mix or having gentle reverbs working within the side channels; MID / SIDE — splits the signal into the centre (mid) and left and right (side), so users can focus on different parts of their mix or stereo audio file to apply different processes to different audio areas as a different way of processing stereo audio files that is almost unheard of in reverbs (despite being commonly used in EQs and compressors); LOW / HIGH — harnesses powerful processing of different frequency ranges anchored around an adjustable frequency set by the CROSSOVER control to apply different reverbs to the low and high frequencies for totally flexible reverb processing; and QUIET / LOUD — splits audio at a certain loudness level (also set by the CROSSOVER control) so that the two reverb processors independently work on quieter and louder audio, a feature that is unique to the Biverb plug-in, permitting users to utilize different reverbs on each element.

Dual ducking
Biverb boasts dual DUCKING controls, helping a clean signal to push through without losing punch and attack by lowering the wet signal level automatically whenever a new dry signal arrives at the plug-in’s input. Further flexibility for each reverb comes courtesy of associated TIME — determines how fast the wet signal level will get to its original state — and FILTER — hp (high-pass) determines the minimal frequency of the signal going to the reverb, while lp (low-pass) determines the maximal frequency of the signal sent to the reverb ‘unit’ — controls.

Modulation Maneuvers
Duality duly continues with REVERB 1 and REVERB 2 including identical MODULATION 1 and MODULATION 2 sections, offering control over modulation LEVEL, RATE (speed) of the modulation section oscillators, and DISPERSION — a ’special effect’ that can shatter sound. Sometimes the difference between those two reverb ‘units’ might only involve a subtle change in one of those latter settings. Seeking mids without modulation and sides with an effect? Entirely possible, of course, when working with Biverb. But just try picturing any other reverb doing that… not necessarily so easy.

Elevation and depth
As a cutting-edge effect plug-in packing two independent reverbs to offer unparalleled flexibility and creative control, clearly Biverb has what it takes to be the ultimate tool for any producer or sound designer determined to elevate their mixes and bring depth to soundscapes. Saying that, the plug-in provides its users with the maximum audio quality possible thanks to its internal 64- bit audio processing and an ability to handle any sampling rate — reaching 192 kHz or even higher without breaking into a sweat, just like its fellow United Plugins partners’ software siblings. Similarly, the photorealistic yet flexible (resizable) nature of its GUI (Graphical User Interface) imbues it with impressions of working with real hardware as opposed to being a virtual effect plug-in. Ultimately, United Plugins software smartly manages bypass functionality to ensure that users do not experience any clicks or harmful noises when automating that parameter, and SounDevice Digital’s Biverb is no exception to that (written) rule.

SounDevice Digital’s Biverb is available to purchase for a time-limited introductory promo price of only €15.00 EUR until November 11, 2024 — rising thereafter to its regular price of €79.00 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 its dedicated webpage (https://unitedplugins.com/biverb), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10/11 can also be downloaded for free.

Note that no iLok, dongle, or internet access is required for Biverb activation. (All United Plugins software uses license files for activation and owners can freely use purchased software — with free-for-life updates — on all their computers, as long as they are the user.)

See and hear Biverb in action while watching United Plugins’ illuminating introductory video here:

About United Plugins
As implied in the carefully chosen wording for an apt appellation that really represents how the Prague-registered Limited Company came about and what it collectively creates, United Plugins is a federation of small, independent development teams comprised of individuals involved in the music industry. Indeed, the founding triad of FireSonic, JMG Sound, and SounDevice Digital can count engineers, producers, and artists amongst their ‘united’ names. Needless to say, all were seeking the freedom to create the tools that they would like to use in their studios and on their projects. And all agreed that this could be better achieved when working together. Though United Plugins’ proliferating product portfolio may not always be for the musical masses, surely someone, somewhere will always find those tools to be a perfect fit for their own music productions… just like those inventive individuals behind United Plugins’ partner brands, the ranks of which have since swelled to include Muramasa Audio and MeldaProduction. Thanks to the latter letting United Plugins utilize its super-easy licensing system, which is why selected MeldaProduction products are also available from the United Plugins website (https://unitedplugins.com), a thriving future for the federation is assured.

© 2024 United Plugins

Ableton has announced the release of Move, a new standalone instrument for capturing ideas whenever they appear.

With a portable design, simple workflow and a core library of over 1500 sounds and instrument presets, Move lowers the barrier to getting started on a new idea. It comes with 32 polyphonic aftertouch pads, a 16-step sequencer and an in-built speaker and microphone. Move integrates effortlessly with Ableton Live software, so ideas started on Move can be finished in Live.

Create faster than you can overthink

Any or all of Move’s four flexible tracks can be turned into a drum kit, sampler or instrument in seconds – plus, a single drum hit can become another bassline or melody with the 16 pitches layout for drums*. Move’s microphone, 3.5mm line-in and built-in speaker make it perfect for sampling and making music on the go, and its battery provides up to four hours of use on a single charge.

*Available with Move 1.1 software update on day of release.

Ready to play

Move uses many of the same instruments and effects that power Ableton Live. Its core library is easy to access and tweak, and contains samples, presets and drum hits from Ableton’s sound design team, plus special collaborations with BNYX, DECAP, L.Dre, Sound Oracle and more.

Eight built-in audio effects, including a reverb, delay and saturator, bring depth and texture to Move’s output. Apply up to two effects per track, plus two on Move’s master output.

Tactile control

Shape sounds with nine touch-sensitive, endless rotary encoders, and play notes, beats, samples, and clips with 32 backlit pads. Each pad responds to pressure independently, letting you add more movement to your tracks.

Play now, refine later

Create, rework and combine ideas, then head to Live to add finishing touches. Wi-Fi connectivity means you can easily transfer Sets to Live and Note with Ableton Cloud and Move Manager.

Move’s tight integration with Live’s interface and workflow also makes it the ultimate compact control surface for Ableton Live.

Live 12.1 is out now
Move comes with Live 12.1 Intro. Live 12.1 introduces the new pitch correction and harmonization feature Auto Shift, compact sample player Drum Sampler, sound auto-tagging and more.
Learn more about Live 12.1 ›

Pricing and availability
Move is available immediately and costs 449 USD / 449 EUR / 399 GBP. Free practice lessons from Melodics are included.

It’s available for purchase from Ableton.com, and in some countries, through selected local retailers.

About Ableton
There’s a global community of music makers using Ableton’s creative tools. They’re creating and performing music with Ableton software and hardware instruments: Live, Push, Link, Note and Move. And they’re discovering how to do it with the help of Learning Music and Learning Synths.

Ableton was set up in Berlin in 1999 by the same musicians who lead the company today. Now it’s made up of employees across the world, working together on things that inspire people to get started and go further as music makers.

ABLETON.com

 Now offering new algorithms for vocal processing, 96kHz compatibility, and much more.

Eventide continues the trailblazing tradition of its H9000 with several operational updates, securing its place as the most powerful outboard effects unit on the market. The latest firmware features 96kHz support across all 1,600+ algorithms, brand new algorithms designed specifically for vocals, RNBO support, new effects from the TEC-Award winning H90 Harmonizer, and much more.

 “We are proud to be releasing such a massive firmware update to the H9000, a product that has been a foundational component to so many studios around the world,” commented Product Manager, Tyler Skoglund. “The comprehensive updates offered here—particularly around the new vocal algorithms—are a direct result of feedback from Eventide’s customers. We are thrilled to see this classic processor evolve to meet the needs of modern producers, engineers, and content creators of all stripes.” ​ ​

The H9000 sets a new standard in audio quality with its upgraded full 96kHz support across all algorithms. This improved fidelity ensures seamless integration into any audio environment, delivering high-quality resolution that will make your mixes future-proof.

Seven New Algorithms, Including Exclusive Vocal Processors

• VocalShift: A highly accurate vocal Harmonizer from the team that coined the term. This algorithm features two independent voices with pitch and formant shifting, key and scale quantization, detune, delay, and pan controls— everything needed for a cutting-edge vocal production.
• VocalTune: Designed for precise vocal correction and hard tune effects. VocalTune is perfect for polishing a vocal track in the studio or making a singer shine in real-time in a live performance.
• VocalShiftMIDI: A versatile three-voice Harmonizer controlled via MIDI, perfect for vocal harmonies, chord stacks, pitch correction, and creating pads and textures.
• The H9000 also features several algorithms from the H90 Harmonizer pedal, including Prism Shift, PolySynth, Sticky Tape, and Aggravate.

Finally, Eventide’s H9000 now integrates RNBO support, enabling Max programmers to export patches directly to the processor. This exciting new feature allows users to create and run custom effects and incorporate up to four RNBO algorithms per FX Chain, vastly expanding creative production possibilities.

H9000 Standard Features
​The H9000 supports a bountiful 128 channels of processing, making it ideal for a variety of production scenarios such as multitrack recording, mixing, or surround sound. With world-class audio converters and expansion options for Dante, MADI, or Pro Tools HD, the H9000 is adaptable and can suit almost any environment.

The powerful FX Chains feature enables users to link up to four algorithms with custom routing, allowing for unique signal chains for any situation. Users can run up to 16 algorithms simultaneously and these can be customized to suit many applications including sound design, live mixing, post-production, and more.

• Product page: https://www.eventideaudio.com/rackmount/h9000
• Videos: https://etide.io/h9000-videos

About Eventide
​Since 1971, Eventide has remained at the forefront of recording technology. In 1975 they revolutionized the audio industry by creating the world’s first commercially available digital audio effects unit, the H910 Harmonizer®. Since then, their legendary studio processors, effects pedals, and plug-ins have been heard on countless hit records.

Eventide is a registered trademark of Eventide Inc. Harmonizer is Eventide’s trademark for a special effects device incorporating pitch change.

High-precision sound for professionals and music lovers in a compact, affordable package

A fresh take on an Austrian Audio standard
​The Hi-X20 is a professional tool designed to meet the demanding needs of audio professionals and enthusiasts alike. Whether you are in the studio, in front of a mic, or simply enjoying your favorite tracks, the Hi-X20 delivers unparalleled performance and comfort. Designed based on customer feedback and using the same proprietary Hi-X Drivers that power all Austrian Audio professional headphones, the Hi-X20 offers high-precision sound that is perfectly balanced in middle and high frequencies with a powerful, but not overdrawn bass-response. The result is a fresh take on the Austrian Audio sonic signature – pristine sound, honest frequency response, fast transients, and minimal distortion in the bass range.

“The development of Hi-X20 was very much a collaborative effort with our customers who offered us thoughtful feedback,” said Austrian Audio CEO Martin Seidl. “The result is a different tuning and a fresh look that will appeal perfectly to audio professionals and musicians.”

Key Features:

• Frequency range: 12 Hz – 24 kHz
• Sensitivity: 113 dBspl/V
• Impedance: 25 Ω
• Input Power: 150 mW
• Cable (detachable): 3 m
• Connector: 3.5 mm (1/8”)
• Adapter (included): 3.5 mm to 6.3 mm (1/8” to 1/4″)
• Dimensions: 205 x 170 x 80 mm
• Weight (without cable): 255 g

Package Includes:

• 1x Hi-X20 Headphones
• 1 x HXCB3 3 m Cable
• 1x HXAS 6.3 mm Adapter
• 1x HXB Bag

For more information about the Austrian Audio Hi-X20, please visit: https://austrian.audio/hi-x20

About Austrian Audio
​Austrian Audio opened its doors in 2017 following the closure of the AKG offices in Vienna and set out to create something new, challenging, and respectful to its heritage. The new company started with a core team of previous AKG personnel from management, acoustics, electronics, test and measurement, mechanical design, RF/wireless, and software/firmware, bringing 350 years of cumulative engineering experience to the new company.