PAVIA, ITALY: analogue saturation circuits digital reproduction specialist Nembrini Audio is proud to announce availability of Divided 11 — envisioned as a Class A boutique amplifier plug-in with a crisp, clear tone that saturates extremely well while offering a very balanced sound across the frequency spectrum by distilling the quintessential tones of the storied Divided By 13 CJ11* (currently available as a modern take on a classic Fifties-vintage tweed amp that punches well above its weight as an 11W combo) into a virtual amplifier that brings classic sound into the digital age — as of June 3…
As a tube-rectified, single-channel Class A combo amplifier emulation, Nembrini Audio’s Divided 11 maintains the warmth and versatility of the original hardware that inspired it, while introducing a suite of advanced features for the modern musician. Its intuitive interface and authentic-sounding attributes conveniently convey the sought-after tube amp experience as a plug-in. At a basic level, its front panel features simple controls for POWER — bypasses the plug-in for processed and unprocessed signal comparison; BOOST — overdrives the preamp section so more gain is pushed
into the signal for a thicker, more saturated tone; MASTER — regulates the power amp section’s level within the plug-in itself, mirroring how master volume influences the colouration and texture of the sound in the context of a real Class A amplifier; BASS and TREBLE — dual-purpose tone controls that allow for the adjustment of the guitar tone’s low and high frequencies, respectively; VOLUME — adjusts the preamp’s gain level to set how hard the preamp section of the amplifier is being driven, thereby affecting the amount of preamp distortion and overall tone; plus HIGH and LOW selector — switches between different input configurations, simulating high and low gain inputs of a traditional amplifier, which can have a significant impact on the tone and gain structure, so allows for further tonal options.
On the face of it, then, those front panel controls should surely allow Divided 11 to do what Nembrini Audio set out to do; the analogue saturation circuits digital reproduction specialist has, however, expanded the capabilities of the original hardware, leveraging the versatility of the digital world to introduce new features for unparalleled control over its user’s guitar tone by simply selecting the CABINETS – IMPULSES LOADER button to open and close its feature-packed panel namesake.
Carefully choose from, for instance, six selected cabinet emulations in CABINET mode — namely, THIRTEEN 1×12 GREEN (based on a Divided By 13* 1×12 combo with Celestion* G12M speakers); BG 2X12 V30 (based on a Bogner* 2×12 combo with Celestion* Vintage 30 speakers); VOICE 2×12 BLUE (based on a Vox* 2×12 combo with Celestion* Blue speakers); HK 2×12 V30 (based on a Hughes and Kettner* TM 212 combo with Celestion* Vintage 30 speakers); VH 4X12 P50E (based on a VHT* 412S 4×12 combo with Eminence* P50E speakers); and VH 4X12 V30 (based on a VHT* 412 4×12 combo with Celestion* Vintage 30 speakers).
It is possible, though, to enable a range of tonal characteristics courtesy of CABINET mode since it also allows users to access MIC 1 and MIC 2 settings (simulating the use of two virtual microphones for the amplifier’s recording chain) — choose from four of the best microphone model emulations used in real recording sessions, such as DYNAMIC 57 (based on the popular Shure* SM-57 dynamic microphone); RIBBON 121 (based on a modern Royer* Labs R-121 ribbon microphone); CONDENSER 141 (based on the classic AKG* C 414 condenser microphone); and DYNAMIC 421 (based on a vintage Sennheiser* MD-421 dynamic microphone). Moreover, users can select the chosen microphones’ orientation with options for ON AXIS or OFF AXIS (affecting the colour and intensity of the captured sound) and adjust the POSITION and DISTANCE of each microphone relative to the speaker (offering control over the depth and spatial effects in recordings).
Rounding things off in that regard, CABINET mode’s MIXER section includes three faders that controls the volume of the two microphones — MIC 1 and MIC 2 — in front of the guitar and stereo AMBIENT microphones; each channel has a PAN control for stereo positioning, plus PHASE (inversion), SOLO, and MUTE switches.
And as if all that was not enough to be getting on with, the CABINETS – IMPULSES LOADER panel provides access to IMPULSES mode, effectively a powerful impulses loader that lets Divided 11 users load up to three third-party impulse responses and blend them together; there are controls with which they can change the volume, PAN, and PHASE of each impulse response, as well as SOLO or MUTE them, alongside an associated display for browsing favourites or viewing a preview of the resulting waveform.
It is also possible to completely bypass the entire cabinet/recording chain emulation from within the CABINETS – IMPULSES LOADER panel, but regardless of which of its CABINET, IMPULSES, or BYPASS modes are selected, useful FILTERS, NOISE GATE, and INPUT/OUTPUT sections are always active — respectively designed to shape the tone by filtering specific frequency ranges, help eliminate noise associated with high gain settings, and manage the signal level entering and exiting the plug-in.
Put it this way: with Divided 11, Nembrini Audio has surely succeeded in creating a virtual amplifier that brings classic sound into the digital age!
* Divided By 13 CJ11 is a registered trademark of Divided By 13 Amplification; Divided 11 was developed by Nebrini Audio SRL based on its own modelling techniques, and Divided By 13 Amplification has not endorsed or sponsored Divided 11 in any manner, nor licensed any intellectual property for use in this plug-in. Please note that all other marks and models are trademarks of their respective owners, which are in no way associated or affiliated with Nembrini Audio. As such, those marks and names are used for the sole purpose of describing certain tones produced using Nembrini Audio’s modelling technology.
Divided 11 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 $29.99 USD until June 30, 2024 — rising thereafter to a regular price of $137.00 USD — from its dedicated webpage (https://www.nembriniaudio.com/products/divided-11-guitar-amplifier), which also includes more in-depth information. (It is worth noting that — though no iLok dongle is required — a free iLok account and iLok License Manager — downloadable for free from here: https://www.ilok.com/ — are necessary to run Nembrini Audio plug-ins.)
Flexibility further abounds as Divided 11 is also available in AuV3 format for iOS at an introductory price of $9.99 USD until June 30, 2024 — rising thereafter to a regular price of $19.99 USD — on the App Store from here: https://apps.apple.com/us/app/divided-11-guitar-amplifier/id6502292130
See and hear Divided 11 in action while watching Nembrini Audio’s alluring trailer video here:
About Nembrini Audio (www.nembriniaudio.com)
Nembrini Audio was borne out of the extensive experience of founding namesake Igor Nembrini, with over 10 years of involvement in creating many of the greatest guitar amp plug-ins on the market to his notable name. Needless to say, the company’s exacting emulations always start by perfecting digital reproduction of analogue circuits before being finely tuned by ear to remain true to the original sound. Saying that, it is specialized in the digital reproduction of analogue saturation circuits, whereby the dynamic behavior of each individual component is carefully modelled and tuned by ear to always achieve the most musical and creamy saturation in the digital world! With that in mind, it does not simply produce musical software but rather musical instruments suitable for every modern musician in search of uncompromising quality — products that work well in any setting and situation to let the creativity of musicians, producers, and mixing engineers flow forth for all to hear!
© 2024 Nembrini Audio SRL
Adding a host of improvements in both sonic performance and overall versatility while maintaining their ultra-compact footprint and price
May 30, 2024 – IK Multimedia proudly welcomes iLoud MTM MKII into the iLoud studio-quality monitor family. While maintaining the original’s iconic MTM design, the MKII further surpasses the limits of its compact size to offer enhanced sound and features that dramatically elevate performance. Available as a pair, 11-speaker immersive bundle or individually, the MTM MKII represents a significant step forward in output and flexibility to improve sonic performance in even more environments. The MKII offers improved speaker drivers, off-axis response, power efficiency and SPL, higher onboard processing power, double the DSP and the latest award-winning ARC room correction built-in. X-MONITOR is now integrated into the workflow, giving MTM MKII users expanded options to monitor and mix confidently.
Ultra-nearfield for Critical Mixing
MTM MKII houses a pair of 3.5″ high-performance woofers and one 1″ high-definition, back-chamber loaded tweeter with improved drivers. These deliver superior volume and low end while providing increased clarity and mid-range articulation. The Midrange-Tweeter-Midrange design (D’Appolito configuration) gives ultra-precise, defined, point-source sound that traditional 2-way systems can’t achieve at close distances. The result is more balanced mixes with less ear fatigue.
Deeper, More Powerful Bass
MTM MKII delivers even more of the legendary “iLoud physics-defying sound”, offering an improved 36 Hz bass extension (-10 dB) and higher SPL levels. The increased bass and volume allow MTM MKII to replace far larger speakers, enabling reference-quality monitoring in even more situations.
Work Faster with More Accuracy
Thanks to the MTM MKII’s tight vertical dispersion, the acoustic impacts of desktop placement and room reflections are minimized to ensure accuracy on every project. The wide horizontal dispersion provides a broader sweet spot than the previous generation and a smoother in-room response. Improved power efficiency and an extended max SPL also offer flexibility for FOH, immersive speaker setups or other volume-dependent tasks.
Next-generation ARC Room Correction
The MTM MKII adds a new way to get the best sound in any room with a deeper, more comprehensive ARC auto-calibration. Using technology from the flagship iLoud Precision series, this 4-space measurement offers an unmatched level of definition and reliable translation in virtually any environment. Connecting the provided ARC MEMS microphone (included free with any iLoud MTM MKII pair or immersive bundle) to each speaker’s mic input, users will be ready to go in minutes with the perfect sound for the room – in any room.
The World’s Best Monitors in One
Featuring IK’s award-winning X-MONITOR integration, the iLoud MTM MKII now offers complete control over every speaker element beyond its rear panel controls. For example, X-MONITOR gives the MTM MKII precise delay compensation between units for superior stereo imaging. Users can also A/B mixes by switching virtual monitoring voices, which emulate the frequency and phase response of over 20 top studio monitors and reference systems with breathtaking realism.
For the Technical Crowd
Inside a sleek design, the MTM MKII packs innovative technology to offer its user the best sonic experience possible from a compact monitor.
• Lighter and stiffer mid-woofers go down to 36 Hz with improved midrange clarity and articulation for more accurate mixing.
• Extended ultra-flat frequency response now at 48 Hz to 28 kHz ± 2dB compared to 50 Hz to 24 kHz ± 2 dB of the original iLoud MTM.
• Double the onboard processing power at 96 kHz (up from 48 kHz), delivering better transparency and resolution.
• Improved horizontal dispersion results in a broader sweet spot and smoother in-room response while controlling vertical dispersion.
• More efficient power management raises a single unit’s maximum SPL to 112.5 dB compared to its predecessor’s 110.5 dB.
• The latest ARC correction algorithms from iLoud Precision produce unmatched definition and translation reliability for a monitor this size and price. There’s never been a compact monitoring system as powerful – and versatile – as iLoud MTM MKII.
Pricing and Availability
iLoud MTM MKII monitors can be ordered now from the IK Multimedia online store, and IK authorized dealers worldwide at the following prices:
iLoud MTM MKII (Single) – $/€399.99* – ARC MEMS microphone not included.
iLoud MTM MKII (Pair) – $/€799.99 – Includes ARC MEMS microphone.
iLoud MTM MKII (11-Speaker Immersive Bundle) – $/€3,999.99 – Includes ARC MEMS microphone.
*All pricing excluding taxes.
For more information about the iLoud MTM MKII series or to see the studio monitors in action,
please visit www.ikmultimedia.com/iloudmtm
Music makers can decide where to position instruments and performers in the studio used by global artists and composers including Adele, Coldplay, Joni Mitchell, Hans Zimmer, Max Richter, David Arnold, Radiohead, Jonny Greenwood, Little Simz, Dua Lipa and Muse
Spitfire Audio, the world-renowned creator of high-quality sample libraries for composers and music makers proudly presents the release of their first effects plug-in, AIR Studios Reverb, in collaboration with London’s iconic AIR Studios. Marking a significant milestone, AIR Studios has extended unprecedented access to Spitfire Audio, enabling them to sample their unique acoustics for the very first time.
The launch comes after two years of research and technological development. With AIR Reverb, artists can create exactly the sound they want by positioning anywhere in AIR Studios using Spitfire Audio’s “Virtual Positioning Technology.” Spitfire Audio has utilized Impulse Response technology which allows for the recording and reproducing of a room’s response to an audio signal positioned within the room thus meticulously crafting the user’s chosen ambience. With Spitfire having recorded over 67,000 Impulse Responses, AIR Studios Reverb offers a level of detail greater than any Impulse Response reverb currently available.
Configurable Hall settings – including Canopy Height, Canopy Material, and Gallery Damping – allow composers and music makers to tailor the acoustics of the space to their preferences and bring to life any virtual instrument.
Through creating a dynamic, flexible and highly detailed convolution reverb that seamlessly captures the unique image of the space and aesthetics in The Hall, composers and music makers are able to customize their sound with absolute precision using a vast collection of carefully curated, tweakable presets by AIR Studios’ award-winning engineers, to suit any style, genre or instrument. In addition, artists can access an extensive range of sound engineering opportunities with curated presets and mix a collection of world-class engineered signals using some of the industry’s most renowned equipment. Spitfire Audio’s first effects plug-in, AIR Reverb, is available in any modern DAW (Digital Audio Workspace).
Spitfire Audio’s Co-Founder, Paul Thomson said, “I’ve been recording in AIR Lyndhurst Hall for 17 years. The team are incredibly talented and The Hall is a beautiful acoustic, one of the most musical spaces for recording in the world. Having spent many hours in this room recording everything from full orchestras performing my own music for film, television and video games, to individual instruments performing every technique imaginable, I feel like I know this room intimately. What our team has created here is astonishing. I can close my eyes and I’m sitting in AIR listening to the sound of the room. I’m enormously excited for AIR and Spitfire Audio to be able to share this legendary space with music makers around the world, to bring a touch of the AIR magic to their own recordings and productions.”
In The Hall, musicians and microphone setups are usually arranged in one of two ways. Typically, musicians face the control room and galleries with the conductor’s back to the control room creating controlled and balanced acoustics. The alternative way involves musicians facing the organ with the galleries behind them. This method is synonymous with the sound of Hans Zimmer scores recorded at AIR Studios and is arguably The Hall’s most recognizable sound. To emulate both of these orientations in the plug-in, the team set up a mirror image of microphones on The Hall floor. Then, through recording with speaker positions in multiple orientations, the plugin is able to recreate either setup and instantly swap between them.
With a selection of mic signals available, from the classic Decca tree to ambient mics in the gallery and overheads in the canopy, composers and music makers can orient their virtual performers and fine tune the microphone balance as though they were at the console in the control room. The canopy can be lowered and raised, and different treatments applied to the room. Further reverberation and EQ controls allow the sound to be altered even beyond what is possible in the real world. This all results in top level recording across all production types.
Technical Director of AIR Studios, Simon Knee: “In the late 1980’s Sir George Martin discovered Lyndhurst Hall had one of the world’s most beautiful acoustics. The creation of AIR Studios enabled recording in a space that musicians love to play in and that elevates every performance. We see this as an essential tool to help composers, sound engineers and producers achieve the best results they can
For more than 16 years, Spitfire Audio has worked in constant partnership with AIR Studios, home to blockbuster productions including Gladiator, The Grand Budapest Hotel, Wonka, Saltburn, and The Dark Knight. Situated at AIR Studios, Lyndhurst Hall, commonly known as “The Hall,” has served as the primary location for Spitfire Audio’s instrument sampling endeavors from the very beginning, fostering a profound bond between the company and the studio team. The AIR Studios Reverb release represents the culmination of Spitfire Audio’s long-standing relationship with AIR Studios and their joint dedication to innovation and excellence in music technology.
Speaking about the new plug-in, the Head of Product at Spitfire Audio, Elliot Greenhill says, “Our traditional medium has always been media composition, rooted in the rich heritage of AIR Studios. Our deep connection with the space and its talented team has shaped our journey, from early recordings to ongoing collaborations. As Spitfire Audio continues to evolve, we strive to guide everyone in the music-making process, exploring the essence of what truly brings music to life. From instruments to the intricate spaces that envelop sound, we recognize that reverb is the undeniable backbone of any piece of music.”
AIR STUDIOS REVERB KEY FEATURES
AIR STUDIOS REVERB AVAILABILITY & PRICING
Product Link: https://www.spitfireaudio.com/air-studios-reverb
Available: May 16th, 2024 at 5pm BST
Price: £299 / $349 / €349
Founded in 1970 by the legendary producer of The Beatles Sir George Martin, AIR Studios has delivered the Oscar, Golden Globe, Grammy and BAFTA-winning and nominated scores for Atonement, Phantom Thread, Interstellar, Grand Budapest Hotel, All Quiet On The Western Front, and countless recent film and TV productions, including Wonka, Saltburn, Maestro, The Crown, The Whale, and Stranger Things. And as well as being a recording mecca for composers around the world, the studios have hosted recording and mixing sessions for an array of bands and artists including Adele, Coldplay, Billie Eilish, Dua Lipa, Little Simz, Muse, Paul McCartney, and Radiohead.
Alongside the studios, AIR broadens its services through their mastering facilities, and representation of composers, producers, engineers and mixers.
Spitfire Audio is the leading creator of sounds and sample libraries for composers and music makers, uniting pioneering artists with pioneering sounds and music technology.
Partnering with outstanding affiliates including the world’s most exceptional composers and musicians, celebrated recording studios, Abbey Road and AIR Studios, and the renowned BBC Symphony Orchestra, has cemented Spitfire Audio’s global reputation as the premier music sound library company.
Spitfire Audio records and curates the best sounding virtual instruments, utilizing in-house developed music technology and advanced software devices.
Collaborations with a diverse and eclectic set of award-winning composers and artists range from global icon Hans Zimmer, Iceland’s innovative artist composer Ólafur Arnalds, GRAMMY® Award winning choral composer Eric Whitacre, German/Turkish ethereal pop composer Alev Lenz, influential British producer Trevor Horn and Scotland’s ground-breaking percussionist Dame Evelyn Glennie through to GRAMMY® Award winning artists including Queen’s Roger Taylor, Red Hot Chili Peppers’ Chad Smith, to Nine Inch Nails keyboardist and film composer Charlie Clouser.
Composer and music makers around the globe use Spitfire Audio products in their compositions and productions, and through their phenomenal work, research suggests that a major percentage of composers use Spitfire Audio products in their journey to scoring films and projects, including those who have been nominated for and have won Oscar, Emmy, BAFTA, GRAMMY® or César Awards.
LOS ANGELES, CA, USA/HONG KONG, CHINA: Ashun Sound Machines (ASM) is proud to celebrate its fifth anniversary as a company that is passionate about using technology to create exciting products that spark creativity by introducing two-limited edition models of its Hydrasynth digital wave morphing synthesizer with proprietary ASM Polytouch® technology to provide responsive velocity and expressive polyphonic aftertouch — applying a celebratory ‘cosmetic facelift’ to form the aptly-named Hydrasynth Keyboard 5th Anniversary Silver Edition and Hydrasynth Deluxe 5th Anniversary Silver Edition — at SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany…
Certainly, celebrating its fifth anniversary milestone in stunning style, ASM’s Hydrasynth Keyboard 5th Anniversary Silver Edition and Hydrasynth Deluxe 5th Anniversary Silver Edition are each limited to 200-unit runs that will surely become highly-sought-after collector’s items, prized by serious synthesizer aficionados. Appropriately, each limited-edition model boasts a sparkling silver finish with a custom 5TH ANNIVERSARY SILVER EDITION print on the top panel, duly distinguishing them from the ‘standard’ Hydrasynth Keyboard
— launched in 2019 to widespread critical acclaim as a digital wave morphing synthesizer featuring an ASM Polytouch® 49-note polyphonic aftertouch keybed and a user-assignable ribbon controller — and Hydrasynth Deluxe — itself offering a dual sound engine setup and the largest (73-note) ASM Polytouch® polyphonic aftertouch keybed to date upon its introduction in 2021 — models that are still going strong today thanks to regular firmware updates; by that same token, Hydrasynth Keyboard 5th Anniversary Silver Edition and Hydrasynth Deluxe 5th Anniversary Silver Edition’s custom-made side panels prominently feature the HYDRASYNTH logo, while both synths ship with a Certificate of Authenticity showing the unit number — not forgetting, of course, the silver sticker that is included in both packages.
Applying a fine finishing touch to the celebratory proceedings, ASM has closely collaborated with a carefully chosen team of specialist sound designers, duly including an exclusive custom patch bank on both limited-edition models to further commemorate its fifth anniversary as a company that is passionate about using technology to create exciting products — products that definitely don’t come much more exciting than Hydrasynth Keyboard 5th Anniversary Silver Edition and Hydrasynth Deluxe 5th Anniversary Silver Edition!
Anyone attending SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany is invited to swing by Booth H205 where ASM is introducing Hydrasynth Keyboard 5th Anniversary Silver Edition and Hydrasynth Deluxe 5th Anniversary Silver Edition, exhibiting them alongside their ‘standard’ synth siblings for all to see and hear. However, anyone wishing to buy a Hydrasynth Keyboard 5th Anniversary Silver Edition and/or Hydrasynth Deluxe 5th Anniversary Silver Edition will have to practice a little patience — but rest assured they will be well worth the wait.
Expected to ship in June 2024, Hydrasynth Keyboard 5th Anniversary Silver Edition and Hydrasynth Deluxe 5th Anniversary Silver Edition will be available to purchase — priced at an MSRP of $1,649.00 USD ($1,449.00 USD MAP)/€2,049.00 EUR/£1,799.00 GBP and an MSRP of $2,149.00 USD ($1,949.00 USD MAP)/€2,649.00 EUR/£2,299.00 GBP, respectively — through ASM’s growing global network of authorized dealers here: https://www.ashunsoundmachines.com/dealers
Hydrasynth Keyboard 5th Anniversary Silver Edition shares the same specifications as the ‘standard’ Hydrasynth Keyboard here: https://www.ashunsoundmachines.com/hydrasynth-key
Hydrasynth Deluxe 5th Anniversary Silver Edition shares the same specifications as the ‘standard’ Hydrasynth Deluxe here: https://www.ashunsoundmachines.com/hydrasynth-deluxe
About ASM (www.ashunsoundmachines.com)
Ashun Sound Machines (ASM) is a music hardware brand started in 2019, based in Hong Kong, Los Angeles, and Shanghai. It is wholly owned by Medeli, an established electronic musical instrument developer founded in Hong Kong in 1983. Passionate about using music technology to create exciting products that spark creativity, the core company team comprises Glen Darcey (CEO), Daniel Troberg (VP Sales and Marketing), Dominic Au (Senior Product & Design Manager), Banner Xu (R&D), Xie Yingchen (R&D), Bob Liao (R&D), Brian Zheng (R&D), Ken Pierce (Product Specialist), Alex Schetter (Support Specialist), Randy Lee (Beta Test Lead/Documentation), and Fanny Cheng (Executive Chairman).
© 2024 Ashun Sound Machines Inc. & Medeli Electronics Co., Ltd.
UVI release Quadra Modular, a creative multi-instrument and sequence designer blending the raw sound of modular synths, intro offer available
Paris, May 15th, 2024 – UVI release Quadra Modular, a creative 4-part instrument and sequence designer blends the sounds from an exceptional collection of analog and digital modular synthesizers to create powerful and inspiring new instruments. Choose from a huge number of multi-sampled modular synthesizers to create dynamic, and evolving sequences with a focused and intuitive workflow, powerful arpeggiator and phrase sequencer, expressive performance controls, a deep factory library, and more. Quadra Modular is available now, with a special introductory price of $99 / 99€ through May 26th, 2024 (regularly $149 / 149€).
Quadra Modular is a versatile and creative instrument, able to be morphed and performed in numerous ways to suit productions of any style. Loaded with a huge selection of modular synthesizers, including everything from tiny to massive stand-alone systems, unique and custom-built systems, vintage and modern analog, digital, hybrid, eurorack, and more – users are free to explore and create complex layered voices, adaptive progressions, and dazzling sequences with a focused and inspiring toolset.
The Quadra series instruments are designed to be immediately inspiring, delivering 4 customizable
instrument layers with keyzone support, XY and dynamics morphing, fully editable synthesis and numerous effects. An advanced 64-step arpeggiator and phrase sequencer with pitch drift, scale quantization, and more complete the package, adding powerful and expressive performance controls. Quadra Modular comes with an impressive collection of factory patches, offering hundreds of unique, hand-crafted visions ready to be explored. All presets in Quadra are fully editable, functioning as fantastic starting points for your own creative journeys, or as ready-to-go inspiration for your own productions.
Quadra Modular offers native 64-bit standalone operation by way of Falcon or the free UVI Workstation, providing comprehensive support for all modern DAWs and simultaneous authorization on up to 3 computers or iLok keys.
PRICING AND AVAILABILITY
Quadra Modular is available immediately with a special introductory price of $99 / 99€ now through May 26th, 2024 (regularly $149 / 149€).
ADDITIONAL PRODUCT INFORMATION
Additional information on Quadra Modular is available at:
http://www.uvi.net/quadra-modular
About UVI
UVI is a developer of software instruments, effects and soundware. We leverage leading-edge synthesis, DSP research and design to provide unique and expressive tools for musicians and audio professionals. Our goal is to help you achieve the highest-quality sound possible with innovative and reliable solutions. You can hear our work around the world at live shows, on hit-records, in blockbuster films and AAA games. We’re a small but spirited team with a global footprint, music and sound lovers eager to share our passion. We’re honored to be a part of your creative journey and are thankful to you for sharing ours.
https://www.uvi.net
PRESS RELEASE – May 14, 2024 – Cherry Audio is excited to unveil Chroma, a groundbreaking virtual instrument that brings the legendary sounds of the 1982 Rhodes Chroma into the digital age. After a meticulous development process lasting over a year and a half, the Chroma synthesizer is now available, offering an unprecedented level of authenticity and ease of use. In conjunction with its launch, Cherry Audio has also released “The Story of Chroma,” a captivating video documentary exploring the complex history of the original synthesizer through conversations with key figures from the industry’s pioneering era.
In 1979, ARP Instruments began development of the 16-voice polyphonic Chroma analog synthesizer. With an ambitious modular architecture and unique sound, it was destined to be a marvel of its time. Unfortunately, ARP
faced bankruptcy in 1981, and the design was taken over by Rhodes, who would produce it from 1982 to 1984. Though the Chroma’s flat-panel numeric interface made it notoriously challenging to operate, the technology under the hood was groundbreaking, making it a remarkable final achievement for the ARP team and its visionary engineers.
Produced in limited quantities, the Chroma has remained a coveted piece for collectors and musicians alike. Notable users include Herbie Hancock, Joe Zawinul, and the band Spandau Ballet, whose 1983 hit album “True” featured the synthesizer prominently.
Recognizing the Chroma’s iconic status and the inherent challenges of its intricate design and vast parameter set, Cherry Audio committed to creating a virtual instrument that faithfully reproduced every aspect of the original while vastly improving the UI and ease of operation. The result is a synthesizer plugin that not only captures the essence of the original Chroma but enhances the user experience with modern conveniences and an intuitive interface.
Key Features of the Cherry Audio Chroma Synthesizer:
Authentic Sound Reproduction: Meticulously emulated to match the original Rhodes Chroma, from its 16 polyphonic voices to its expressive velocity and aftertouch capabilities.
16 Oscillators, Filters, VCAs, and LFOs, and 32 Envelope Generators: These modular elements are arranged in 16 distinct preconfigured signal paths, ranging from straightforward VCO-VCF-VCA setups to intricate configurations featuring oscillator sync, filter FM, ring modulation, and variable or serial filter paths.
Extensive Modulation Capabilities: All of the original Chroma’s unprecedented modulation capabilities have been precisely replicated to create a powerfully flexible modular synthesizer-like programming experience. Modulation paths are configured quickly and easily using Cherry Audio Chroma’s comprehensive modulation pop-up menus.
Enhanced User Experience: Intuitive pop-up menus and real-time displays simplify the programming process, making it accessible to novices and seasoned professionals alike.
Expander Module Integration: Includes the Chroma Expander, which adds an entire second Chroma synthesizer to the mix, running in layer or split modes for expanded creative possibilities.
Full Array of Effects: Chroma includes seven studio-quality onboard effects, including distortion, phaser, flange/chorus, delay, and reverb, as well as a global EQ and limiter.
Direct SysEx Import: Owners of MIDI-retrofitted Chroma or Expander hardware can directly transfer banks and individual patches to Cherry Audio Chroma via a SysEx dump. Additionally, users can easily import Chroma SysEx files through drag-and-drop, thereby bringing decades of sound design into a modern workflow.
700 Extraordinary Presets: Loaded with the original 250 factory presets and enriched by an additional 450 custom presets crafted by a stellar team of sound designers — James Terris, INHALT, Michael Oakley, James Dyson, Drew Schlesinger, and Mark Wilcox. Discover 100 more phenomenal presets that blend vintage tones with a contemporary feel with the Chroma Classics Preset Pack by James Terris (sold separately).
With its launch, Cherry Audio not only aims to celebrate the legacy of the Chroma but also to make its unique sounds and capabilities accessible to a broader audience. The virtual instrument is offered at an exceptional price of only $69 (list $89), making it an ideal choice for musicians and producers seeking to incorporate some of the rarest vintage synthesizer sounds into their projects.
In addition to bringing this iconic instrument to the 21st century, Cherry Audio has committed to giving back to the music community. The company will donate 5% of profits from its May website sales of Chroma to the ARP Foundation, supporting Alan R. Pearlman’s legacy of innovation that ARP and the Chroma represented.
Cherry Audio’s Chroma synthesizer is available for macOS (10.13 and above) and Windows (7 or above) in AU, VST, VST3, AAX, and standalone formats. A free 30-day demo is available. Visit cherryaudio.com for additional product details, a deep-dive instructional video, system requirements, and an extensive collection of awe-inspiring sound demos. https://cherryaudio.com/products/chroma
Rhodes® is a registered trademark of Rhodes Music Ltd. There is no association, affiliation or endorsement of Cherry Audio or its products by Rhodes Music.
Having scored over 150 films, won four Grammy awards, three Golden Globes, two Academy Awards, four Classical Brit Awards, and one BAFTA, film composer Hans Zimmer’s career has been nothing shy of legendary. His iconic and genre-defining work is a fixed feature of many franchises and standalone films, from Dune, Pirates of the Caribbean, and Kung Fu Panda to the Lion King, Inception, and Gladiator.
By partnering with Synapse Audio, Hans Zimmer has drawn on this experience to create a versatile soft synth that was built with the needs of modern media scoring, music production, and sound design in mind.
The Legend HZ features 200 factory presets developed jointly by expert sound designer Kevin Schroeder and Hans Zimmer. The factory soundbank gives anyone access to a wide range of cinematic-style sounds, while The Legend HZ itself provides access to some of the very tools used by them.
In addition to the features of its predecessor, The Legend HZ also includes:
Existing users of The Legend can upgrade to The Legend HZ for a reduced price by logging into their User Service Area account on the Synapse Audio website.
The Legend HZ is patch-compatible with The Legend. Patches and soundbanks created on The Legend can therefore be loaded into The Legend HZ (e.g. our Modern Analog soundset).
Projects containing The Legend will still open the old Legend, so both can work in parallel.
PRAGUE, CZECH REPUBLIC: following in the must-have footsteps of its DreamMachines (so-called VIRTUAL ANALOG DRUM DESIGNER) and Meldway Grand (software grand piano) as premium instruments for MSoundFactory, itself held in high regard as arguably the most
powerful modular virtual instrument platform out there today by effectively allowing users to create their own instruments (alternatively available as MSoundFactory LE — providing access to all the sounds and instruments included with its bigger brother, but without access to the editing screen — and also for free as the self-explanatory MSoundFactory Player with only a few sounds included, although users can choose to purchase premium instruments), music production and audio processing advanced tools-maker MeldaProduction is proud to announce availability of PowerStrings — pushed as its next MSoundFactory premium instrument, this time tailored towards quickly crafting symphonic strings suited to the fast-paced production world of modern pop or cinematic music — as of May 13…
Orchestral Maneuvers in the DAW
As an orchestral powerhouse, PowerStrings represents MeldaProduction’s latest MSoundFactory premium instrument, this time tailored towards quickly crafting symphonic strings suited to the fast-paced production world of modern pop or cinematic music. The timeless elegance of symphonic strings are creatively combined with a contemporary twist — to deliver rich and vibrant string sounds designed to instantly elevate tracks. Indeed, its streamlined interface and intuitive controls allow users to effortlessly add lush string arrangements to their compositions without slowing down their creative flow.
An assortment of ARTICULATIONS
PowerStrings proffers an assortment of ARTICULATIONS, ranging from smooth SOFT LEGATO to crisp SPICCATO settings, so users can achieve the perfect expression for any musical idea. It is possible to speedily switch between them during a live performance using a controller keyboard’s lower keys, or even enable multiple articulations at the same time. The premium instrument in question also allows for independent pitch and volume per articulation, which is ideal for extremely easy layering, while all ARTICULATIONS have access to detailed — Attack, Hold, Decay, Sustain, and Release — envelope settings.
Get CREATIVE
Strings should not necessarily always sound like strings — certainly in the context of modern pop or cinematic music production. PowerStrings’ CREATIVE ‘tab’ takes its users into a brave new world of sound, one where they can, for example, make the strings sound like a synth using the CONVOLUTION settings. Similarly, FM (Frequency Modulation) controls are also available, as is control over HARMONICS. Applying a pleasant-sounding DIFFUSION to the proceedings is, likewise, all part of getting creative.
Cause and effect
When working with PowerStrings there is no need, necessarily, to turn to third-party effect plug-ins for finalising the sound since the premium instrument includes its own REVERB (offering five types of room and hall) alongside an advanced DELAY and five-band EQUALIZER, plus MOTION, DISTORTION, MODULATION, and LOFI effects — more than enough, surely, to boost creativity in the highly unlikely event of PowerStrings failing to inspire in its musical mission of facilitating quickly crafting symphonic strings for modern pop or cinematic productions. Ready and waiting Whether working on an ambient track or pop-rock song, orchestrating epic film trailers or emotive soundtracks, or even composing majestic symphonies, PowerStrings stands ready and waiting to infuse its user’s musical aspirations with unparalleled depth and grandeur. Get this, though: the sample library powering PowerStrings weighs in at just over 600 MB, making it a very lightweight premium instrument in terms of CPU and RAM efficiency.
Key features:
• Tailored towards quickly crafting symphonic strings suited to the fast-paced production world of modern pop or cinematic music
• Delivers rich and vibrant string sounds designed to instantly elevate tracks
• Streamlined interface and intuitive controls to add lush string arrangements to compositions without slowing down creative flow
• An assortment of ARTICULATIONS
• CREATIVE ‘tab’ takes users into a brave new world of sound
• Creativity-boosting effects
PowerStrings is available to purchase as an AAX-, AU-, VST-, and VST3-compatible plug-in supporting all major hosts on macOS (64-bit only) and Windows (64-bit only) via its dedicated webpage (https://meldaproduction.com/PowerStrings) for a time-limited introductory promo price of only €9.00 EUR until June 9, 2024 — rising thereafter to its regular price of €69.00 EUR — and can be used in MeldaProduction’s free MSoundFactory Player (downloadable from here:
https://www.meldaproduction.com/MSoundFactoryPlayer); owners of MSoundFactory or MSoundFactory LE can get PowerStrings as an add-on for free. (Coinciding with the PowerStrings release, MeldaProduction is making MSoundFactory and MSoundFactory LE available to purchase at an attractive 55% discount for two weeks only.)
Watch MeldaProduction’s informative introductory video for PowerStrings here:
About MeldaProduction
MeldaProduction was founded in 2009 by Vojtech Meluzin and is based in Prague, Czech Republic. Inspired by ancient analogue gear right through to the latest digital developments, it
makes advanced tools for music production and audio processing with 100-plus products — including more than 30 available for free — to its notable name. Needless to say, applying
innovative thinking to create sounds that matter with inspiring user interfaces that are as easy to use as they are versatile with never-ending improvements neatly sums up the company’s
gifted game plan. It is also a premier partner brand of fellow Prague-registered Limited Company United Plugins, a federation of independent development teams comprised of individuals
involved in the music industry.
© 2024 MeldaProduction
“It’s an absolutely crazy multi-band distortion, compression, EQ, and filter, which pretty much lets you do anything.”
– GRAMMY Award-winning DJ/musician/record producer/singer-songwriter Skrillex
PARIS, FRANCE: one-time nasty-sounding audio software creator Ohm Force is proud to announce availability of Ohmicide Eurorack — entering into the hardware world with its inaugural Eurorack module adapted from its distinguished distortion plug-in namesake that defined the now-well-populated category of so-called ‘shaper’ effects (itself now available for free as a legacy product) — as of May 13…
As a distinguished distortion plug-in that defined the now-well-populated category of so-called ‘shaper’ effects, Ohm Force’s Ohmicide was famed for its carefully crafted distortion library covering all things then known and much that was unknown. Ultimately, all 111 of those trailblazing distortion algorithms are now ready to burn fingertips from within the depths of Ohmicide Eurorack, a remarkably versatile module made for delivering huge sonic possibilities, permitting users to change the texture of their VCOs (Voltage-Controlled Oscillators), drums, and/or samples in whatever subtle or brutally unsubtle ways they see fit. For there are all kinds of distortions readily on tap.
The routing has, however, been redesigned for Eurorack — the signal first being split into two bands using the XOVER parameter knob, with the lower band not being processed, preserving the bass content for more control, while the higher band then goes into a low-pass filter, the frequency of which is controlled with the LPF IN parameter knob, allowing for smooth removal of unwanted harmonic content before the desired one is added at the distortion stage.
Desired distortion is selected using the TYPE parameter knob (and associated small screen), with
37 different distortions and shapers available — ranging from wave-shapers, wave folding, saturations, overdrive, fuzz, and bit-crushing through to completely unique distortions, including a fractal chaotic feedback equation, cyclic distortions, slew rate limiters, analogue sample & hold emulation, noise-based distortions, a ball bouncing on walls (with velocity controlled by the input signal), a fridge emulation, or one based on Lorenz strange attractors, even — or simply stumble across a nice surprise. Saying that, though, each distortion then has three variants that are accessible via the FAM switch — namely, S (‘Standard’), which is the raw algorithm; X (‘Xxx’, which sounds more like a tube amp); and O (‘Odd’, which introduces inharmonic distortions). Distortion can then be further controlled using the BIAS and MOD parameter knobs, enabling endless variations. For FAM S and X, BIAS emulates malfunctioning hardware circuitry and adds a DC offset before the distortion is applied; for FAM O, BIAS controls the distance between harmonics — normally multiplicative of the fundamental, but FAM Odd enables expansion or shrinkage of the relationship between those harmonics, making for inharmonic processing. Meanwhile, MOD is specific for each type of distortion; when working with wave-shapers, for instance, it will bring about even harmonics or change the base parameters of the algorithm. All those different distortions access a GAIN parameter knob, itself offering very low to extreme gain settings. Thanks to its clean circuitry — think high-fidelity Texas Instruments Burr-Brown audio convertors working in perfect harmony with 24-bit hardware audio converters, there is surprisingly low noise in the case of the latter.
Last, but by no means least, the distorted signal reaches another low-pass filter whose frequency is controlled with LPF OUT, this time allowing users to ‘tame’ the distortion by progressively removing the harmonics generated in the distortion stage.
Saying all that, though, Ohmicide Eurorack also has an automatic gain staging that preserves the power of the input signal all the way through to the output. On the face of it, this allows users to play with the module without worrying about whether the signal would suddenly become extremely loud, as well as preventing ears from being tricked into interpreting louder sounds as being better.
But better still — as might be expected of any self-respecting Eurorack module, all of Ohmicide Eurorack’s parameters are also CV-controllable, while the GAIN, MOD, BIAS, and XOVER jacks also have associated attenuverters.
As if all that was not enough to be getting on with, Ohmicide Eurorack has four running modes: the (default) Producer mode is typically used in the studio, so involves no menu diving and every parameter change is instant (while the more advanced Performer modes are typically used when preparing for live performance conditions with limited rack space — the original Ohmicide effect plug-in having introduced the Melohman feature that allowed it to be ‘played’ using a MIDI keyboard, which has now been adapted to work with Ohmicide Eurorack’s CV-Gate-centric workflow); the ‘simple’ Performer mode is exactly like the Producer mode, except activating the selected distortion involves clicking on the encoder; and the ‘CV’ and ‘Trigger’ Performer modes work like a mini-sequencer within Ohmicide Eurorack with up to 16 individual sequences, each of which can then be played back either as a classic eight-step sequencer (using the ‘Trigger’ Performer mode, whereby the TYPE jack input acts as a trigger input), or using it as a CV to address steps in any order (using the ‘CV’ Performer mode).
It is fair to say, then, that Ohmicide Eurorack has been carefully conceived, creatively building upon Ohm Force’s decades worth of experience in developing distortions. As a remarkably versatile module made for delivering huge sonic possibilities, it is easy for users to lose themselves in it for long sessions of sound exploration or, conversely, quickly achieve aggressive leads and drones that simply sound unique… just ask Skrillex! Alternatively, anyone attending SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany is invited to swing by Booth Z245 where Ohm Force will be making its debut as an exhibitor, showcasing Ohmicide Eurorack alongside prototypes of four forthcoming Eurorack modules for all to see and hear.
Ohmicide Eurorack is available worldwide as of May 16, 2024 — coinciding with the first day of SUPERBOOTH24 — with an MSRP (Manufacturer’s Suggested Retail Price) of €465.00 EUR (including VAT)/$419.00 USD via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly via its dedicated webpage, which includes more in-depth information, here: https://www.ohmforce.com/ohmicide-eurorack
See and hear Ohmicide Eurorack in action in Ohm Force’s illuminating introductory video here:
About Ohm Force (www.ohmforce.com)
Ohm Force has been a creative force behind nasty-sounding audio software since 1999, empowering musicians worldwide. With its expansion into hardware, it is building upon that lengthy legacy, launching Eurorack modules designed to inspire and empower musicians while encapsulating the essence of creativity and versatility, each offering a unique blend of functionality and expression.
© 2024 Ohm Force
“MiniMod modules have played a very active role in Christopher Nolan’s recent movies, because it’s one of those systems with a depth to it that pins you to your seat… so it seemed like the perfect way to start thinking about the Radiophonic Workshop again was by commissioning a system from AJHSynth.”
– Academy Award-winning film composer Hans Zimmer (The Lion King, Dune), 2024
DURHAM, UK: AJHSynth is proud to announce that it has been specially commissioned by Academy Award-winning film-scoring supremo Hans Zimmer to custom-build The RadioPhonic — realized as a one-of-a-kind, everything-but-the-kitchen-sink-style super-synth designed from the ground up as an analogue modular system beyond compare, duly destined to take center stage in a new Radiophonic Workshop facility set to be recreated back at its original site in London’s iconic Maida Vale Studios as part of a multi-million-pound refurbishment after the BBC sold the world-class complex to a sympathetic partnership that includes the Hollywood hotshot himself — with the trailblazing client in question graciously allowing the high-end analogue Eurorack module designer/builder to produce a limited number of exact recreations, the first of which is being launched at SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany…
As arguably one of the greatest — certainly one of the most prolific — film composers of our time, noted for his innovative integration of electronic sounds with traditional orchestral arrangements, the multi-award-winning Hans Zimmer needs little in the way of introduction. Duly dedicating his life to creating music and soundscapes using synthesizers together with orchestral sounds, the so-called godfather of orchestral sampling has over 150 big-screen credits to his notable name, including a sizeable slice of the biggest blockbusters witnessed worldwide, as well as associated sellout arena tours on the grandest of scales. Indeed, it almost goes without saying that he has clearly come a long way since being briefly featured in the music video for The Buggles’ 1979-released ‘Video Killed the Radio Star’ new wave synth-pop sensation — prescient, perhaps, since said video historically became the first to be shown on MTV in the United States on August 1, 1981 — standing in front of a monstrous modular system (having himself handled programming and additional keyboard duties on the smash-hit production), itself a portent, perhaps, of what was to come.
Clients clearly do not come much bigger — or, for that matter, more respected — than Hans Zimmer. After all, no one has a better understanding of what sounds pleasing and how best to use it, which explains why companies outside of the music industry have also been turned on to his wide-ranging talent — corporates like BMW, no less, who asked him to design sounds to make their electric cars more exciting. Readily reaping the rewards of his hard-earned success has enabled him to amass one of the largest synthesizer collections in the world, with modular systems covering the walls of his studio setups — quite literally looking like wallpaper! “When Hans Zimmer says that a particular synth sounds more engaging and fuller than others, then he is speaking from a position of experience and authority.” So, says AJHSynth Design Director Allan J Hall, speaking as an admirer of the man and his work. With that in mind, though, the feeling is manifestly mutual, for the Hollywood hotshot began using AJHSynth’s acclaimed analogue Eurorack modules some years ago, stating, “I just remember listening to them and going, ‘Oh, wow! Somebody’s finally cracked the secret of how to do something that truly has a depth to the sounds that you just need.’ Up until then, I had only ever experienced this with either the Minimoog or Moog modular and E-mu systems. Subsequently, MiniMod modules have played a very active role in Christopher Nolan’s recent movies, because it’s one of those systems with a depth to it that pins you to your seat.”
So, it is appreciably a great honor having Hans Zimmer choose to work exclusively with AJHSynth to create a one-of-a-kind, everything-but-the-kitchen-sink-style super-synth designed from the ground up as an analogue modular system beyond compare, the backstory to which makes for fascinating reading. Reveals Hans Zimmer: “BBC Maida Vale Studios came up for sale, and friends of mine and I made the maybe not-so-stupid decision to buy it. It was, of course, home to the original Radiophonic Workshop, and I don’t think any of us electronic musicians would be anywhere without that, which I felt was very important. It sort of went by the wayside, so one of my ambitions is to recreate the Radiophonic Workshop in its original place in Maida Vale Studios. Though they started off with cutting up tapes, they later moved on to EMS VCS 3 ‘Putney’ synthesisers. I searched for the modern-day equivalent with depth and possibilities, always looking for something with an inherently great quality of sound, so it seemed like the perfect way to start thinking about the Radiophonic Workshop again was by commissioning a system from AJHSynth because one of the things that I think is really interesting about Allan [J Hall] and myself is a sort of no-compromise attitude to what we do, and I love his passion when it comes to building new systems.”
It is fair to say, then, that the Sixties-vintage EMS VCS 3 holds a very special place in Hans Zimmer’s heart, having been the first synthesizer that he owned; as such, the beautiful American Walnut and Cherry wood case of The RadioPhonic that he specially commissioned channels the VCS 3 ‘Putney’ case design deliberately, albeit an altered aspect ratio suits the compliment of modules carefully curated to take the sonic possibilities even way beyond that of the original BBC Radiophonic Workshop’s enormous EMS Synthi 100 ‘Delaware’ system that was so central to its playing a huge part in the history of electronic music.
Modules fitted to The RadioPhonic are arranged in two 3U racks in the top section:
The first (upper) row of which comprises
The second (lower) row comprising
A further two 3U racks in the lower section — the technically ‘third’ (upper) row comprising of
The technically ‘fourth’ (lower) row comprising
Those top and bottom sections are separated with an ebonized hardwood strip, while The RadioPhonic’s enclosure employs very low noise power supply and noise filtering distribution boards with auto voltage selection allowing it to be used with mains voltages between 100 to 240V AC, 50 or 60 Hz. Hans Zimmer approves, adding: “One of the things I think is very important when you put together a modular system is that the individual components actually match, and that the compatibility of the voltages and signals match, which is something that Allan [J Hall] is very aware of when he builds these things.”
However, Hans Zimmer has graciously allowed AJHSynth to produce a limited number of exact recreations of The RadioPhonic, so it is not just Academy Award-winning film-scoring supremos who get to play with an analogue modular system beyond compare — whether destined for future Radiophonic Workshops or otherwise! Anyone attending SUPERBOOTH24, May 16-18, FEZ-Berlin, Germany can get up close and personal with SYSTEM NUMBER: 001 by swinging by Booth B030 there, where AJHSynth will be showcasing it to launch those exact recreations of The RadioPhonic and Allan J. Hall himself will be on hand to passionately provide a warm welcome.
Limited numbers of exact recreations of The RadioPhonic are being built to order for purchase directly from AJHSynth (info@ajhsynth.com), priced at £15,000.00 GBP (including VAT), or through the high-end analogue Eurorack module designer/builder’s growing global network of dealers (https://ajhsynth.com/dealers.html).
For more in-depth information, please visit The RadioPhonic webpage here: https://ajhsynth.com/Radiophonic.html
Read AJHSynth’s illuminating interview with Academy Award-winning film-scoring supremo Hans Zimmer here: https://ajhsynth.com/Hans_Zimmer_Interview.html
About AJHSynth (www.ajhsynth.com)
AJHSynth — headed up by Allan J Hall, an individual involved with electronics, music, and synths for more years than he cares to remember — has been designing and building high-end analogue Eurorack modules in the UK since 2014. The growing product range associated with its notable name is largely based on vintage synthesizer circuitry expertly adapted to the Eurorack format, with many modules capturing the original sounds of vintage synths while offering a range of additional features. Synthesists seeking to add classic analogue character to their Eurorack set-ups continually choose AJHSynth, attracted to its attention to detail and commitment to peerless analogue sound.
