Spotlight Piano is our most detailed sample project to date. Designed, recorded, and programmed by composers, this piano focuses on your emotive scoring needs- inspired by iconic cinematic soundtracks and classical recordings. We revisited the same hall and Steinway D that we used for Midnight Grand and Glacier Keys, but this time we sampled it without any felt or extended techniques – a pure concert grand sampled in deep detail, with the innovative features you have come to expect from Fracture Sounds libraries.

Atmosphere Layers

The most popular feature of our libraries makes a return – sound design pads and textures created from piano performances, which blend beautifully with the raw piano. Choose from 10 unique Atmosphere Layers to load into the 3 slots. Advanced Mic mixing controls Close Mic Blend: We have presented the microphone perspectives in our usual easy-to-use mixer with 3 faders, but for users who want to go deeper, we have provided two close mic
signals (body and hammers), which are controllable by the ‘close blend’ slider.

Setting the 3-way switch to ‘Default’ purges the extra samples to save resources. Time Alignment: Naturally, there is a time delay between the close, mid, and far perspectives, due to the distance between the microphones. This is sometimes desirable, but often it can be
beneficial to compensate for this natural delay to create a more cohesive sound. The Time Alignment slider allows you to dial in this delay compensation to your taste.

NOTABLE FEATURES

NEW: Complete dynamic response customization
A brand new feature introduced for Spotlight is the ability to adjust the velocity curves for both timbre (sample selection) and volume. Using the graphs on the Response page, you can set the feel of the keys to your own taste (and match the weighting of your keyboard). Want a rich and vibrant sound without having to hit the keys too hard? Drag up on the middle of the Timbre Scaling graph to bias the loud dynamics. Want an intimate ‘felt’ sound? Drag the ‘Max’ slider down.

NKS SUPPORT AND KONTAKT PLAYER COMPATIBILITY

IK’s immersive monitoring solution is now offered with optional mounting brackets

May 11, 2023 – IK Multimedia announces shipping of new iLoud MTM Wall/Ceiling Mounting Brackets. These brackets make it faster than ever to assemble a compact yet professional monitoring environment for immersive audio. With their compact size, iLoud MTMs are easy to mount using the new brackets or can be quickly installed on any standard microphone stand in spots where permanent mounting isn’t an option.

Immersive Mounting Solution
Custom IK mounting brackets for immersive installations are now available. The ideal complement to the iLoud MTM Immersive Bundle, these rugged metal brackets are the perfect solution for installing iLoud MTMs anywhere and offer adjustment for positioning the speakers to suit any mixing space and configuration.

iLoud MTM’s 3/8″ threaded bottom also allows them to be mounted directly to standard mic stands in most countries or by using a 5/8″ male to 3/8″ female thread adapter (required for the US and some territories). Between the new brackets, threaded bottom and built-in ARC speaker calibration/room correction software, iLoud MTM quickly adapts to any mixing space, just add a sub for a 7.1.4 configuration.

Readily Adjusts to Any Position
Using the included MEMS measurement microphone, iLoud MTM’s acclaimed built-in ARC self-calibration system adjusts in seconds, correcting each one’s output to ensure the most precise and balanced sound from every position, including ceiling-mounting. The result is a true phase-coherent response across the useful frequency spectrum for unbelievably natural sound.

Point-source Acoustical Performance
iLoud MTM is ideal for multichannel installations being linear phase and having a point-source acoustic performance to be accurate at any distance. This minimizes the inaccuracies that conventional speakers can introduce in the imaging, which is critical for multichannel and immersive setups.

Reduced Acoustic Interaction
iLoud MTM’s midwoofer-tweeter-midwoofer design boasts dramatically more controlled dispersion than typical designs. This minimizes the speakers’ interaction with room acoustics (and each other), making them ideal for rooms not custom-tuned for surround audio.

Lighter, Smaller and Easy to Mount
Just as importantly, iLoud MTM monitors make setting up a multichannel rig easy. At 30 to 50% smaller and lighter than comparable studio monitors, users will find setup a breeze in any size room. In addition, the iLoud MTM’s threaded bottom allows them to be mounted on a standard microphone stand or boom stand to best suit the listening environment or when space doesn’t permit ceiling mounting.

Pricing and Availability
The iLoud MTM Immersive Bundle and mounting brackets are available now from the IK Multimedia online store and from IK authorized dealers worldwide:

iLoud MTM Immersive Bundle 11 – $/€3999.99* – Includes 11 x iLoud MTM monitors, 1 x ARC MEMS measurement microphone

iLoud MTM Wall/Ceiling Mounting Bracket – $/€49.99 per unit

*All pricing excluding taxes.

For more information about iLoud MTM studio monitors or to see them in action, please visit:

A Collection of two virtual instruments pays homage to the classic trailblazers of the synthesizer world

Cherry Audio is ecstatic to unveil the sensational Novachord + Solovox collection, featuring two meticulously crafted virtual instruments that pay homage to the trailblazers of the synthesizer world. Novachord replicates the revolutionary 1939 polyphonic marvel of the same name, and Solovox reproduces the equally influential monophonic keyboard instrument. Cherry Audio is on a mission to reignite the vintage charm and distinctive tones of these timeless masterpieces that laid the foundation for contemporary synthesis methods.

Debuting at the 1939 World’s Fair, the Hammond Novachord contained a breathtaking 163 vacuum tubes and over 1,000 custom capacitors. Its architecture predicted the ADSR envelope and utilized a resonant bandpass filter, similar to designs adopted decades later in modern polyphonic synthesizers. Novachord is remembered for its use in We’ll Meet Again by Vera Lynn, and featured in decades of soundtracks, including “Gone With the Wind” and “The Maltese Falcon,” and its otherworldly sounds heard in “Cat People,” “It Came from Outer Space,” The Twilight Zone and The Outer Limits. Today, fewer than 200 Novachords exist, and it is said that only five remain in operation worldwide.

Hammond’s 1940 Solovox was a small monophonic mini keyboard instrument attached beneath a piano to augment it with organ-type lead voices. Deriving its design from the Novachord’s oscillator and divider circuits, Solovox had 18 vacuum tubes and produced a range of string, woodwind, and organ sounds widely used in light music into the 1960s. Unfortunately, the introduction of compact transistor organs released in the 60s marked the end of the Solovox’s popularity.

Award-winning developer and DSP designer Mark Barton shared our fascination with these unique historical electronic instruments and approached Cherry Audio with the prospect of teaming up to revive them and their unique mystical sounds. Mark’s expertise in circuit modeling, along with the invaluable assistance of vintage Novachord owners Joseph and Justin Fill, enabled Cherry Audio to recreate these masterpieces using virtual synthesis rather than sampling.

Cherry Audio’s Novachord features 32 polyphonic voices; a resonant bandpass filter network of three resonators; the “Brilliant,” “Deep,” and “Full” tone settings of the original; seven Attack/Decay/Sustain envelope options; adjustable depth vibrato; and an integrated reverb effect with Room and Hall algorithms plus speaker emulation to replicate the Novachord’s built-in amp and speakers in an acoustic space. Novachord’s interface is a magnificent recreation of the original, replete with white Plakson and black Bakelite keys, teardrop levers, and gorgeous cherry wood.

Cherry Audio’s Solovox is a faithful virtual analog emulation of the monophonic keyboard attachment instrument, featuring combinable Bass, Tenor, Contralto, and Soprano switches; First Voice and Second Voice two-pole bandpass filters with level controls and variable center frequencies; “Deep,” and “Brilliant” tone settings; adjustable glide and fixed-rate vibrato; a mute control to filter harmonics from the oscillator voice; and an integrated reverb effect with Room algorithm and speaker emulation. The exquisite Solovox interface features responsive vacuum tubes that light up and respond to settings.

The result is the fully immersive Novachord + Solovox experience – a breathtaking feast for both the ears and the eyes. With additional touches including over 100 combined presets, flexible MIDI mapping, and Cherry Audio’s popular Focus zoom-in feature, Novachord + Solovox brings these Golden Age classics out of the past and into the 21st century.

The unparalleled combination of Novachord and Solovox presents an unbeatable opportunity for musicians. Cherry Audio introduces this exceptional package of two extraordinary virtual instruments at one jaw-dropping price of just $39 (list price $59). With the original hardware being exceedingly rare and priceless, this incredible offer allows everyone to delve into the origins of electronic music and experience their captivating sounds.

The Novachord + Solovox collection is available from cherryaudio.com and authorized resellers worldwide for Windows and macOS (including macOS 13 Ventura, native Apple M1 processor support, M1 Ultra). The bundle is provided as a single download and installed in AU, VST, VST3, AAX, and standalone formats. A free 30-day demo is available. Visit cherryaudio.com for additional product details, system requirements, and an extensive collection of awe-inspiring sound demos.

RRP: £399 / $449 / 449€

Promo Period: £299 / $349 / 349€

Promo Crossgrade: £274 / $309 / 309€ * 

*A discount for anyone who owns Abbey Road Orchestra: Low Percussion / High Percussion

Abbey Road Orchestra: Metal Percussion combines both an expertly curated library of orchestral staples and a crafted collection of distinctive sounds and textures. With 58 hand-picked instruments in total, versatility is key — whether you need a classic crash sound or want to experiment with the variety of inspiring tones offered by the oil drum, this library covers all your bases. 

Masterfully engineered by award-winning Simon Rhodes, in the legendary space of Abbey Road Studio One, and performed by world-renowned percussionist Joby Burgess, Metal Percussion takes sampling to new heights to incite you to add more inspired percussion, with shimmering metallic textures, shattering hits and otherworldly sounds. 

The third instalment of Abbey Road Orchestra – the most detailed range of sample libraries we have ever created – Metal Percussion will be instantly familiar to Low and High Percussion users. Housed in the same Abbey Road Orchestra plugin and drawing on the same innovative features, intuitive mapping allows for easy layering and go-between to amplify the authenticity of  your composition.

“What makes this collection incredibly special is all of this attention to detail. Combine the individual elements — Joby’s incredible understanding of his collection of instruments, Simon’s particular way of micing everything and setting up the mixes, the level of detail offered in the features, such as the right/left mapping— and you get so much more than some percussion chucked at the back of the room – it can become such a significant part of your production.” 

— Paul Thomson, Spitfire Audio

ALL ENCOMPASSING METAL

Metal Percussion encapsulates a thoughtfully curated collection of versatile and diverse percussive instruments. Inclusive of both classic orchestral staples, such as a variety of cymbals and crashes, and more eclectic cinematic sounds and texture, such as the oil drum, waterphone and giant crasher, this library truly inspires organic composition. 

Hand selected by world renowned percussionist Joby Burgess, the majority of these instruments come from his personal collection — which has been used extensively on major Hollywood productions — and offers true diversity. Whether you’re looking for the delicacy of bells and chimes, the roaring sounds of the thundersheet or something more abstract like the variety of textural elements played on the oil drum, this library layers and combines beautifully to spark your imagination and inspire your own patches and creations.

CURATED VERSATILITY

Orchestral Staples The finest orchestral samples:
An expertly curated selection of 58 percussive instruments, including but not limited to myriad cymbals, tam-tams, and three triangles
Up to 10 round robins
Up to 10 dynamic layers
409 articulations, including discrete right and left-hand performances

Inspirational Instrumentation: Boundless creativity:

• A Joby Burgess hand-selected range of unique elements and metallic tones including an oil drum, trash cans, a waterphone, and many more to inspire your creativity
• A wealth of both standard and alternative techniques, including mallets, brushes, sticks, hammers, bowed cymbals, scrapes, and superball drags
• A huge sonic pallet, from trashy scrap metals to meditative temple bowls which excite the glorious acoustic of Studio One

Realism at Play: Key Features to ease playability

• Voice Choking precisely controls the end of ringing cymbal hits and roll techniques when pressing the corresponding hit keys
  
• Two-Handed Layout which mirrors mapped keys further up the keyboard to enable flexibility and speed when playing
  
• Right/Left Mapping recalls left and right-hand performances on adjacent keys for playing and programming true-to-life rudiments
  
• Presented in the same plug-in as Low and High Percussion, with the same intuitive layout and mapping.

STUDIO ONE: ICON OF THE PAST, INNOVATOR FOR THE FUTURE

A host to celebrated classical recordings from Elgar and Prokofiev, as well as iconic film scores from Raiders of the Lost Ark, Return of the Jedi, The Lord Of The Rings Trilogy, and the more recent releases of Avengers: Endgame, Black Panther and Tar, Studio One needs no introduction. 

Home to one of the greatest in-house collections of vintage and modern microphones and a control room fitted with a 72-channel Neve 88 RS console with a unique and comprehensive surround monitor section, Studio One is the perfect setting for our meticulously planned recording sessions. Our aim is to work with the best, to deliver you the world’s most detailed sampling orchestra and Abbey Road – one of the most in-demand recording studios in the film scoring landscape – was the perfect space to make this happen.

“Spitfire Audio are undoubtedly the best team in the world to deliver something truly groundbreaking. The bar has been raised exceedingly high and this is only the beginning for the Abbey Road Orchestra series. It feels like we are all in for a remarkable journey.”

— Mirek Stiles Head of Audio Products, Abbey Road Studios

DECADES OF EXPERTISE 

This library has been formed by some of the world’s best producers in music recording, created for professional composers of film, television, game and performance.

Joby Burgess – Joby’s playing can be heard on major film and TV scores, notably leading the percussion sections on Black Panther, Rocketman, Ad Astra, Mission: Impossible, The Darkest Hour, Dr Who, and The Green Planet.

Simon Rhodes – Simon joined the EMI Abbey Road Studios in 1987. He is now Senior Engineer and has a long-standing association with various composers including the late James Horner with whom he worked for 18 years on over 40 projects including Avatar, one of the highest-grossing films of all time.

KEY FEATURES – 58 Percussive Instruments:

• Anvils (3) – Metal bars struck with hammers creating ringing sounds with excellent projection – A modern equivalent to the traditional metalworker’s anvil used in orchestral settings

• Brake Drums (3) – Literally the brake drums from an automobile, these produce a surprisingly clear and resonant tone when struck – presented here as a set of three

• Suspended Cymbals (3) – A set of three suspended cymbals (20” Dark, 21” Mellow, and 16” Bright) performed with a variety of beaters providing a huge range of crashes and shimmering textures

• China Cymbal – A traditional 24″ China cymbal hand-hammered in Wuhan, producing a distinctive attack with a dark, washy sustain

• Spiral Cymbal – A spiral cymbal with a very bright attack, moderate sustain, and a distinctly ‘trashy’ character

• Splash Cymbals (2) – A pair of splash cymbals (8” and 10”) with a fast attack and short sustain – ideal for accented hits

• Crashers (2) & Stack – A set of two crashers and a cymbal stack creating a palette of short, sharp, and dirty metallic sounds – great for fast passages or layering

• Giant Crasher – Two thunder sheets (rectangular metal cymbals) stacked together and struck from above to create powerful, shattering hits with little sustain

• Piatti (3) – An orchestral staple, piatti are hand-held clash cymbals struck together creating a dense and brilliant shimmer – presented here as a set of three – 21” Dark/Germanic, 19” Mellow/Viennese, and 17” Bright/French

• Scaffolds (3) – A trio of scaffold poles struck with beaters or hammers producing bright ringing sounds with discernible pitch

• Tam Tams (2) – A pair of orchestral Tam Tams – large ‘gong-like’ instruments of indefinite pitch with a very long, deep resonance and dark overtones

• Temple Bowls (4) – A set of four temple bowls to create meditative sounds with a rich blooming sustain

• Thundersheet – An extremely large (64” x 42”) but very thin suspended metal sheet that produces a characteristic thunder effect when struck or shaken

• Trash Cans (2) – A spread pair of trash cans creating a ‘street’ sound – great for both layering and creating complex polyrhythms

• Oil Drum – A 40-gallon oil drum struck with a variety of beaters producing very unorthodox but highly complex sounds

• Wind Gong – A 26″ wind gong with a quick and bright attack that produces a sound resembling the rushing of wind when struck

• Waterphone – A remarkable instrument of metal tines surrounding a water-filled chamber. Played with a bow, the tines create otherworldly sounds with mesmerizing harmonics

• • Small Metals – A comprehensive collection of smaller metals to add additional colors and textures

    • Agogos (2 pairs) – Pairs of cone-shaped bells with a short decay, each occupying a different pitch and struck with thin sticks to create characterful rhythms
    • Cabassa – A hand instrument with beads wrapped around a ridged metal cylinder and turned with a handle, often used in place of a shaker
    • Cowbells (3) – Clapperless bells with a short, hollow decay and struck with drum sticks – presented here with three pitches
    • Bell Tree – An instrument comprising of cup-shaped bells played by stroking with poly mallets
    • Spring Coil – A large coiled spring played with a triangle beater – either suspended from a stand (open) or resting on a soft surface (muted) 
    • Sleigh Bells & Indian Bells – Pellet bells attached to a handle (Sleigh Bells) or rope (Indian Bells) and shaken to produce a crisp ‘jingle’ sound
    • Tambourines (3) – Metal ‘jingles’ attached to a hoop and either shaken or struck, equally adept at fast, repeating rhythms or single note accents – presented as a set of three 
    • Triangles (3) – An orchestral staple, the triangle produces a bright, high-pitched bell sound with a long decay – presented here as a set of three
    • Finger Cymbals (2) – Pairs of small cymbals struck together to produce a long and high-pitched ring
    • Guiro – A Caribbean instrument with a heavily textured metal surface, either tapped or scraped to create characterful repeating rhythms
    • Mark Tree – Suspended metal tines played by stroking with the fingers to produce the instrument’s signature glissandi
    • Reco Reco – Popularised in Brazilian music, the Reco-Reco consists of springs extended across a hollow metal frame which are struck or scraped
    • Windchimes – Small suspended metal tines which add light splashes of color when flicked
    • Chains – Heavy gauge chains dropped into a trash can to create aggressive metallic accents and textures
• 16 Mic Signals
• 409 Articulations
• Right/Left Mapping
• Voice Choking feature
• Two-Handed Layout
• ~136 GB download size
• 151,905 samples

BRNO, CZECH REPUBLIC: after more than 20 years of R&D, education, and collaboration associated with its notable name (and also those of earlier entities), software application, software effect, and hardware processor developer Audified is proud to announce a rebrand — anchored around the launch of its new website, streamlined product portfolio, and associated licensing mechanism — as of April 26…

Acting as an anchor to Audified’s rebranding exercise is its new website, which is more manageable in operation while bringing a new visual identity to both company and products — signaled still further by the introduction of a new logo that better reflects its name. Consequently, customers can easily access all the important information — such as downloads, invoices, and license overview — available in their account, all of which will be migrated to the new website by simply resetting their password. An automated support system has been built from the ground up and applied alongside an abundance of FAQ (Frequently Asked Questions) articles addressing common customer issues. Improvements have also been made to allow for downloading trial versions of software products in a few simple steps, while the streamlined shopping process also assists in providing the best experience possible for new and current customers engaging with a more modern and user-friendly website.

With the launch of its new website, Audified is streamlining its product portfolio to better focus on the categories it collectively considers itself as being best at continuously improving — initially starting with Boutique Studio Bundle (https://audified.com/products/boutique-studio-bundle/), comprising the RZ062 Equalizer plug-in bundle (based around authentic namesake models of the now-scarce and sought-after, Sixties-vintage Klangfilm RZ062a and RZ062b valve EQ modules made by German giant Siemens for installation in its film sound-centric Universal Mixing and Control Console), U73b Compressor (authentic emulation of its Sixties-vintage hardware namesake, now seldom seen as an all-tube vari-mu — variable gain — German broadcast compressor/limiter later involved in mastering almost all vinyl recorded and cut in Europe into the early Eighties, thanks to the speedy nature of the forward triggered sidechain and adjustable release time implemented in its design), and associated U78 Saturator spinoff (supplementing meticulous models of the aforesaid hardware’s tube saturation with LowPass and HighPass filters alongside a unique Tone filter for adding characteristic colouration to any sound); GK Amplification 3 Pro (https://audified.com/products/gk-amplification-3-pro/), produced as an evolutionary next step in this Gallien-Krueger amps- and speakers-modelling fan-favourite representing the most advanced Gallien-Krueger amp simulator out there; and MixChecker Pro (https://audified.com/products/mixchecker-pro/), an aptly-named unique and useful plug-in for quickly checking reference mixes (without having to export them for listening on different speaker setups) with more than 60 different simulated devices, the overall gain of which were all normalised to the same objective loudness using an algorithm derived from the LKFS (Loudness, K-weighted, relative to Full Scale) loudness standard designed to enable normalisation of audio levels for delivery of broadcast TV and other video (as standardised in ITU-R BS.1770-3) — itself the subject of being reworked with many more features in readiness for release during Q4 2023. Thereafter, popular products such as Audified’s ToneSpot series of all-in-one mixing plug-ins — each created to represent the whole processing chain needed for mixing a specific instrument — are also being revamped and ready for relaunch in 2024, while other ‘oddities’ are set to make a comeback in a different form or forming part of different products.

Also acting as an anchor to Audified’s rebranding exercise is its decision to move away from both its own serial number-based protection system and iLok in favor of a new licensing mechanism that does not necessitate the use of any kind of license management system and allows for seven-day trials as well as two activations and two deactivations per license. “We feel that iLok slowed us down and didn’t allow us to really create a great customer experience and journey,” notes Audified Product Marketing Manager Šimon Ille — unlike that new licensing mechanism, whereby customers simply enter the license key within the product itself after installation. It is well worth noting, however, that it is perfectly possible to migrate old iLok licenses to new licenses for Audified products sold on the new website, while discontinued products will, of course, continue to work for their owners — irrespective of whether they are working with the iLok licensing system or otherwise. On top of that, support will also continue for discontinued products, which will all be updated to work with the newest operating systems — including Apple silicon.

Saying that, then, anyone pointing their web browser at the rebranded Audified’s all-new website will surely be impressed with what they find there, both product-wise and otherwise.

About Audified (www.audified.com)
With more than 20 years of R&D, education, and collaboration connected with its notable name, Audified actively develops software applications, software effects, and hardware processors for musicians, audio engineers, and installed audio. As such, the company’s collective vision is to improve and streamline music production workflow, adding a new aesthetic value to their customer’s work while helping them to achieve the best possible results.

© 2023 Audified s.r.o.

DURHAM, UK: high-end analog Eurorack module designer/builder AJHSynth is proud to announce the upcoming availability of MiniMod Keyz as a modular monosynth powerhouse — pre-installing its much-acclaimed MiniMod System modules directly based on the original R.A. Moog version of the Minimoog Model D alongside additional modules expanding functionality into a performance-packed Cre8audio NiftyKEYZ keyboard controller/case (customized with American Walnut end cheeks creating a ‘vintage’ look in keeping with recreating the still-sought-after sound of that vintage circuitry in modular format), forming a ready-to-play modular monosynth making use of a full-size 49-note synth-action key-bed that outputs multiple pitch, velocity, and aftertouch CVs (control voltages) alongside a multi-mode arpeggiator and more besides to provide users with total control over expression and authentic analog sound at an attractive price point — as of May 4…

As an absolute powerhouse of a modular monosynth, MiniMod Keyz is anchored around AJHSynth’s much-acclaimed MiniMod System modules alongside additional modules mounted into a customised Cre8audio NiftyKEYZ keyboard controller/case, collectively recreating the vintage circuitry and sound of the original R.A. Moog version of the Minimoog Model D in modular format with expanded functionality, and arranged (left to right) — reasonably replicating, in part, the familiar front panel layout of that timeless design dating back to 1971 — as follows: MiniMod GLIDE + NOISE — glide (with added UP/DOWN function, including correct glide slope profile, and HOLD function recreating ‘glide-only-when-key-is-depressed’ behaviour) and noise generator (with RED, WHITE, and PINK noise CV modulation sources); 3x MiniMod VINTAGE TRANSISTOR CORE VCO — acknowledged again and again as being the fattest-sounding analogue VCO (Voltage-Controlled Oscillator) in Eurorack as a much-acclaimed analogue design featuring the circuitry of the early and rarified R.A. Moog oscillator; Ring SM RING MOD – SUB BASS – MIXER — multifaceted module with superb-sounding ring modulator (based on EMS’ Synthi/VCS3 discrete transistor design), two sub-bass generators — SUB -1 and SUB -2 — to add rich-sounding -1 and -2 octave waveforms with AJHSynth’s unique-shaped sine, and five-channel DC-coupled vintage Moog CP3 transistor mixer; MiniMod TRANSISTOR LADDER FILTER — directly based on the transistor ladder filter really representing the pinnacle of the early Minimoog Model D design, renowned for its beautiful, creamy sound associated with unique overdriven circuitry and resonance rolloff at low frequencies; LOW FAT — voltage-controlled high-pass filter with 6 dB and 12 dB slopes for standalone use or in combination with the MiniMod TRANSISTOR LADDER FILTER to create a fully-customisable band-pass filter (allowing the range of pass bands to be cherry-picked rather than fixed); MiniMod DISCRETE CASCADED VCA — an essential part of recreating the classic Minimoog sound since it also adds harmonic distortion and further character, directly based on a cascaded VCA (Voltage-Controlled Amplifier) that is actually two VCAs in series, as implemented in the very early R.A. Moog and Musonics Minimoog models with the highest distortion and most sought-after sound; MiniMod CONTOUR GENERATORS — faithfully reproducing all of the essential characteristics of the contour generators that are a major part of creating the classic Minimoog sound, including the exponential slope when used in conjunction with the (near) linear slope of the original VCA responsible for the famous Model D ‘punch’ and unique re-trigger behaviour (whereby multiple re-triggering increases the output level); and last, but not least, MiniMod TAP TEMPO VC-LFO — an extremely complex modulation source, specified to include a built-in VCA for CV control of modulation amount, TAP tempo and CV control of LFO (Low Frequency Oscillator) rate, 16 different modulation and random voltage waveforms (each with a unique PWM-style TWIST function), and clock in and out, as well as CV control of all parameters.

It is, however, briefly worth noting here how modules like the MiniMod TAP TEMPO VC-LFO, for example, expand MiniMod Keyz’s capabilities above and beyond basically ‘modularising’ Minimoogs, so to speak. After all, a considerable limitation of the Minimoog Model D design lies in its lack of any LFOs for modulation, OSCILLATOR-3 having to be switched from audio to LFO mode to provide modulation. As AJHSynth’s much-acclaimed MiniMod System benefits from Eurorack’s open architecture, adding LFOs into the mix made sense as a sound musical move — all the more so since Cre8audio’s NiftyKEYZ keyboard controller/case already features an onboard LFO hard-wired to its modulation wheel.

But by creatively combining its much-acclaimed modules with a Cre8audio NiftyKEYZ keyboard controller/case (customized with American Walnut end cheeks creating a ‘vintage’ look in keeping with recreating the still-sought-after sound of that venerable vintage Minimoog Model D circuitry in modular format), AJHSynth has surely succeeded in creating a standalone MiniMod System with peerless performance capability that takes the huge, rich sound upon which it has built its reputation to another level entirely. Eurorack’s open architecture already allows for unlimited onboard patching and easy expansion by patching to other external cases and modules, of course, yet the resulting MiniMod Keyz combo can just as easily connect to a DAW (Digital Audio Workstation) or other MIDI (Musical Instrument Digital Interface) instruments. Indeed, it readily lends itself to live performance as a ready-to-play modular monosynth making use of the NiftyKEYZ keyboard controller/case’s serious specification, hereby highlighted: high-quality full-size 49-note synth-action key-bed with both vel (velocity) and at (aftertouch) CV outputs; five-mode arp (arpeggiator) with latch and sequencer mode, as well as swing and range control (allows arpeggiator span to be varied between one through to four octaves); onboard lfo that generates ramp, saw, triangle, square, or random waveforms; front panel octave switch (-1 / 0 / +1 octaves); transpose (up or down in semitones by up to one octave); selectable pitch bend range (+/- 2 semitones or +/- 1 octave); clock input and output; two active mults — multiple1 and multiple2 — for splitting CV and audio signals; switchable between gate re-trigger or legato — no re-trigger when second note is pressed — modes; dual outputs — out1 and out2 — with two to out1 and to out2 mix jacks, so four signals can be routed to the outputs; aftertouch and expression pedal smoothing (adding a glide to slowly increase the effect over time, selectable from 0 to 5 seconds); four pitch CV outputs — cv1 through to cv4 — and four gate outputs — gate1 through to gate4 — that allow for four-voice polyphonic modular control while the keyboard itself can be split into two zones; auto-chord function; five-pin DIN midi in and midi out/thru sockets in addition to class-compliant USB connection — CC #1 being routed to mod/lfo CV — for working as a fully-featured polyphonic MIDI controller for DAWs or other MIDI instruments; sustain pedal input (triggers arpeggiator latch function); expression pedal input (generates either a 0 to +5V or 0 to +10V range to the exp CV jack); two outputs — with both ¼” and 3.5mm jacks — with separate headphone level control; and MIDI clock generated from internal arpeggiator, as well as receiving MIDI clock in.

It is easy, then, to see why AJHSynth Design Director Allan J Hall considered Cre8audio’s NiftyKEYZ keyboard controller/case a perfect fit for the high-end analog Eurorack module designer/builder’s modular mono synth powerhouse, proudly revealing: “In response to requests from keyboard players we have created MiniMod Keyz, a vintage-inspired modular mono synth, with a full-size, 49-note keyboard featuring velocity, aftertouch, and full MIDI control; meanwhile, MiniMod modules offer the huge Model D sound, with added goodness from two sub-bass generators, a ring modulator, and two LFOs — an absolute powerhouse for live performance and a centerpiece controller combined with the fattest-ever synth voice for studio-based workflow.”

MiniMod Keyz is in production now and available within three to four weeks from AJHSynth’s growing global network of dealers (https://ajhsynth.com/dealers.html), priced at £2,795.00 GBP (including VAT).

For more in-depth information, please visit the dedicated MiniMod Keyz webpage here: https://ajhsynth.com/Keyboard.html

See and hear MiniMod Keyz in action in AJHSynth’s informative introductory video here:

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 authentic analogue sound.

© 2023 AJHSynth

HALMSTAD, SWEDEN: having made a notable name for itself with its critically-acclaimed ISOVOX 2 vocal booth that reduces unwanted room sound from recordings, itself instantly finding favor with the likes of high-flying multi-million-selling British singer-songwriter Seal, award-winning innovative company ISOVOX is proud to announce the availability of ISOVOX Go — surely set to make its mark, making it possible to achieve studio vocal recordings on the go as an ultra-portable vocal booth package that fits into a carry-on-sized bag — as of April 25…

ISOVOX Go is up to three times more effective at removing room sound than a reflection filter and microphone foam ball — according to RT60 measurements (measuring the time after the sound source ceases that it takes for the sound pressure level to reduce by 60 dB) taken in ISOVOX’s test facility when pitting ISOVOX Go against a generic reflection filter and foam ball. Better still, such effectiveness takes recordings to another level — hardly surprising since the acoustics involved owe much to those that made its ISOVOX 2 ‘bigger brother’ so successful. Reducing room sound effectively when voice recording is clearly what it is all about, although the resultant dry, crisp, and clean sound with smooth frequency response comes courtesy of the new material involved in ISOVOX Go’s ultra-portable design. It is worth noting here, however, that ISOVOX Go and ISOVOX 2 will continually coexist; after all, ISOVOX Go is mainly designed for improving voice recording acoustics and not as a solution to practicing loud vocals at home or away without disturbing neighbors, so users will notice differences in sound character and overall isolation in comparison to ISOVOX 2.

As an ultra-portable vocal booth package — comprising a floor stand, mic pole, two M16 nuts, LED light, and user manual — that is foldable (so small enough to fit into most check-in trays), ISOVOX Go fits into a carry-on-sized bag (also included). It comes complete with a gift card to redeem a complimentary copy of ISOPLUG Go as a downloadable plug-in for Mac and PC, itself featuring a one-knob design with powerful audio processing tools such as DE-ESSER, DYNAMICS, TONE, and REVERB with which users can further enhance their recording.

But by implication of appellation alone, ISOVOX Go makes it possible to achieve studio vocal recordings on the go… wherever anyone lays their recording hat.

ISOVOX Go is available for purchase worldwide with an MSRP (Manufacturer’s Suggested Retail Price) of $749.00 USD/€699.00 EUR via ISOVOX’s growing global network of dealers and distributors (https://isovoxbooth.com/where-to-buy/) or directly from ISOVOX’s Online Shop here: https://isovoxbooth.com/product/isovox-go/

For more in-depth ISOVOX Go information, please visit its dedicated webpage here: https://isovoxbooth.com/isovox-go/

Watch ISOVOX’s introductory ISOVOX Go video here:

About ISOVOX (www.isovoxbooth.com)
ISOVOX is an award-winning innovative company from Sweden. Duly designing products so anyone can practice and record vocals like the pros, but at home or away without disturbing their neighbors, its inaugural ISOVOX® 2 vocal booth namesake — featuring four layers of super acoustic materials with patented 360 XYZ Pro Acoustic Construction to control sound waves from all angles (roof, top, bottom, behind, and front), enhancing vocal details and reducing overall volume with a warm and punchy sound without any detrimental breathing particles, unlike any other portable product — found favor with the likes of multi-million-selling British singer-songwriter Seal. ISOMIC™ is its follow-up, a masterly microphone technically tailored for voice recording within the ISOVOX® 2 vocal booth and guaranteed to capture voices like never before, thanks to its revolutionary patented triangular capsule capable of delivering a radio-ready sound with an ear-opening 7 Hz to 87 kHz frequency range! Representing the world’s most exclusive pro-performance pop filter, ISOPOP™ 24K Gold 24K is a gold-plated brushed aluminum affair aimed at collectors worldwide who have always wanted to make a Gold record with the finest gear in the world, while ISOPLUG™ is the company’s first software product, an all-in-one plug-in packed with the tools needed to enable perfect processing of voice recording, which — when paired with ISOVOX® 2 and ISOMIC™ — creates a complete voice recording signal chain with a guaranteed professional sound as a one-stop-shop solution that is in a class by itself. ISOVOX continues to innovate with ISOVOX Go, making it possible to achieve studio vocal recordings on the go as an ultra-portable vocal booth package that fits into a carry-on-sized bag.

© 2023 ISOVOX AB

ERFURT, THURINGIA, GERMANY: Black Rooster Audio is proud to offer OmniTec-436C as its latest release — this time turning to the Fifties-vintage Altec 436 vari-mu tube compressor and subsequent versions thereof that became a firm favorite among mod-happy studio engineers of the time as inspiration for the beautifully-designed vintage gear emulation plug-ins producer’s own potent addition to any contemporary collection, accurately assisting in recreating the distinctive sound of pop music’s early era from the comfort of a present-day DAW (Digital Audio Workstation) — available as of May 4…

History has it that the Altec 436 series of compressors dating back to the Fifties were all-valve, vari-mu designs, meaning that the amount of compression taking place was dependent on the signal level being fed in. Initially, the 436A model had fixed parameters and no user controls whatsoever but became a firm favorite among mod-happy studio engineers of the time looking for leveling amplifiers with parametric possibilities. The third (436C) version in the series was the result of an extensive modification and redesign by Altec itself, incorporating a parametric THRESHOLD (attack) control and optimized RELEASE TIME to make the unit behave more musically under ‘stress’. Subsequent units such as the famous Fairchild 660 from arguably better-known manufacturers clearly took their inspiration from Altec’s creative circuitry and characteristic sound. Saying that, though, several prominent producers took to the Altec 436 series, which can be heard on popular tracks by American trumpeter Herb Alpert — band leader of Herb Alpert and the Tijuana Brass throughout the Sixties; The Beatles — surely needing no introduction as the most influential (British) band of all time, integral to the development of Sixties counterculture and popular music’s recognition as an art form; and American singer and actor Frank Sinatra — himself (still) one of the most popular entertainers of the Sixties (and also throughout the Forties and Fifties). Indeed, it served as Beatles’ recording engineer Geoff Emerick’s go-to limiter while working at EMI — now Abbey Road — Studios, where it effectively acted as the foundation of many significant recordings of the time. It is also fair to say, though, that in addition to influencing the sound of so many British albums, it quickly established itself in pop music studios throughout the US and Europe.

Flash-forward to today, then, and Black Rooster Audio’s OmniTec-436C is, itself, a very musical-sounding plug-in. Thanks to the tube-based modeling involved, it never sounds harsh, but rather very mellow over the entire frequency spectrum. Clearly, colouration is evident, yet it never overwhelms. On top of that, though, it consistently seems to ‘glue’ tracks together in the most appealing way possible.

Put it this way: with OmniTec-436C, Black Rooster Audio has succeeded in flawlessly replicating the best features from the Fifties-vintage vari-mu tube compressor to which it owes its inspiration, yet modernizes them for present-day DAW workflow with the introduction of several further flexibility-inducing features, including MODE and LINK switches allowing for selecting between LIM (limiter) and COM (compressor) and STEREO and DUAL MONO, respectively; gain staging via fine-tuning the volume of both the INPUT and output signals, while MAKEUP gain catches the attenuation from the processed compression; side-chain signal filtering with SC HIGH and SC LOW filters from 20 Hz to 12 kHz and 100 Hz to 20 kHz, respectively, while activating the SC LISTEN mode makes it possible to listen to the isolated side-chain signal after filtering; and MIX, to perfectly blend between the dry and wet signal.

It is still possible, however, to immediately identify with the ‘vintage charm’ of OmniTec-436C as its core sound remains true to that Fifties-vintage vari-mu tube compressor to which it owes its inspiration. It is, therefore, truly the ideal plug-in for anyone seeking out a creamy, vintage sound, one which is suited to bass guitar, brass, drums, strings, and vocals — or even synthesizers! Saying that it truly shines, of course, when applied across a whole mix. Whatever way anyone chooses to use OmniTec-436C, one thing is certain: it is a potent addition to any contemporary collection of plug-ins, accurately assisting in recreating the distinctive sound of pop music’s early era from the comfort of a present-day DAW.

OmniTec-436C is available to purchase for a time-limited introductory promo price of only $29.00 USD — rising thereafter to its regular price of $59.00 USD — as a 64-bit AAX-, AU-, and VST-compatible plug-in for macOS (10.9 or later) and a AAX- and VST-compatible plug-in for Windows (7 or later) directly from Black Rooster Audio via its dedicated webpage, which also includes in-depth information (including some superb-sounding audio demos), here: https://blackroosteraudio.com/en/landing/omnitec-436c

14-day, fully-functional trial versions of all Black Rooster Audio plug-ins — including OmniTec-436C — are available by signing up for an account here: https://blackroosteraudio.com/en/myaccount/licensemanager (The new License Manager uses a simple serial number-based activation system.)

About Black Rooster Audio (https://blackroosteraudio.com/en/)
Founded in 2016 by André Kirchner, Black Rooster Audio is best known for its beautifully-designed vintage gear emulation plug-ins for producing, mixing, and mastering audio. Headquartered in Erfurt, Thuringia, Germany, it is passionate about combining the finest of vintage analogue sound and modern technology.

© 2023 CUREON eG

Los Angeles, CA 05/03/2023: Music producers, composers, and songwriters now have access to a vast, proven, ever-expanding sound library at a low, breakthrough price. Musio is a virtual instrument that includes sounds curated from Cinesamples, makers of acclaimed sample libraries for cinema.

Inspiration hits fast and the music gets done when you find that perfect sound without long searches, download times, or worrying about library “hosts” or plugin versions. Explore over one thousand instruments, including cinematic string libraries; meticulously recorded brass, woodwind, and percussion; vintage synth sounds like the OB-XA, plus 808 and 909 drum machines, and more. Write and produce your music with industry-proven sounds heard in some of Hollywood’s biggest hits, all in a zero-learning-curve format.

Musio comes ready-to-play with easy performance controls for greater expression and reverb controls to help craft a mix with width and depth.

By the end of August 2023, Musio will include ALL Cinesamples instruments and a litany of Musio-exclusive libraries. Musio users will also get new instrument plugin features offering more control of effects, room mic levels, instrument parameters, and articulation key switching. Check out the current Musio library on the Live Catalog page and the Coming Soon page to see the ever-expanding instrument library and plugin features.

From pristine orchestral libraries to classic synth and drum machine sounds – Musio is built to spark your creative fire and keep it lit. Watch our Musio Overview video!

Musio Delivers

• A virtual instrument featuring proven sound libraries used in countless movie, video, and game scores.
• Over one thousand Cinesamples instruments with more to come!
• An easy-to-use, multigenre plugin with essential controls for Articulation and Dynamics in a sleek UI.
• Fast, uninterrupted workflow to easily search, load, and play instruments without waiting for downloads.
• Rich, authentic performances by world-class musicians like master cellist Tina Guo, symphonic metal band Apocalyptica, renowned composer Randy Kerber, and more.
• A ready-to-use sample library with built-in ambiances captured in flawless acoustic environments including the MGM Scoring Stage, Alfred Newman Scoring Stage, The Village in Los Angeles, Columbia Records Studios, plus cathedrals, stages, and studios around the world.
• Instrument Racks to make it easy to reuse favorite instruments and combinations/layers across projects.
• Easy collaboration without worrying about plugin versions or missing samples. Simply send a DAW project to a collaborator—even if they’re on another OS—and all your instruments load right away.

Musio is available now on the Musio website with plans to match everyone’s needs:

• Lifetime: Usually $999, now just $499 until May 24th

Ongoing access to new libraries and plugin upgrades without worrying about subscription renewals. ●    Annual: Only $99/yr.

• Monthly: Just $9.99/mo.
• Free 14-Day Trial: Available without credit card

About Musio

Musio is developed by Cinesamples, an industry leader in orchestral virtual instruments and sample libraries. We developed Musio to make the best virtual instruments and sound libraries accessible to all music creators across all genres, budgets, and purchase preferences. By working with renowned sound designers, audio engineers, producers, composers, and performers, we strive to provide instruments that inspire and empower musicians everywhere.

ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of BIT-2 as an analogue synthesis-modelled virtual instrument — with which it takes another trip back in time to take its namesake plug-in predecessor (released in 2019 to widespread critical acclaim with outstanding audio quality) to the next level with numerous new and creative features — as of April 27…

As an apt acronym if ever there was one, BIT stands for ‘Back In Time’. This alludes to the fact that the BIT-2 virtual instrument plug-in — like its namesake predecessor — mainly focuses on modelling analogue synthesis from a pre-digital era that has a still-sought-after charm of its own, one which had not been covered before BIT by the Rob Papen brand, whose virtual instrument products previously combined the best of analogue modelling with hybrid synthesis so successfully. Since self-confessed synth freak and world-renowned sound designer Rob Papen himself had started working with synthesizers at the tender age of 15 when purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer way back when, taking this trip back in time — and now a second time — makes perfect sense, both business-wise and otherwise.

On the face of it, BIT-2 has no (virtual) patch cables, but make no mistake: it is modular in nature. Indeed, its MOD (modulation) MATRIX is used for patching, though several connections — such as LFO (Low Frequency Oscillator) and ENV (envelope) to the OSC 1 and OSC 2 parameters — can quickly be made when switching on the smart ADV (advanced) panel below the oscillators.

Oscillators are actually where boosting BIT-2 begins, with additional Super Saw (1/2/3) and Super Square (1/2/3) waveforms generating a three-oscillator sound within one oscillator to provide even more flexibility for sound creation. Conversely, though, it made sense to leave BIT’s ability to modulate OSC 2 with OSC 1 in several ways — expanding the sound palette profusely with PM (Phase Modulation), FM (Frequency Modulation), and RING (modulation) — as before. But boosting BIT-2 further still are its two top-notch analogue-modelled filters — FILTER 1 and FILTER 2 — expanded to include new types and modes for further enhancing its sound-shaping capabilities, while its AMP (amplifier) section has also been expanded to include multiple distortion types that are all at a ‘per voice’ level to make them much more usable — avoiding any ‘ugliness’ if playing chords, for instance.

Additions are also to be found in BIT-2’s ARP (arpeggiator)/sequencer section, including an ability to dynamically change the start STEP and end STEP number, resulting in interesting patterns that can be changed in real time, as well as the MAGIC MODE parameter that adds musical variation to the active ARP or sequencer. Saying that, the ARP/sequencer can now also work as a modulator, thanks to an additional FREE row that can be used to modulate other parts of BIT-2 in conjunction with the MOD MATRIX.

BIT-2 benefits from the addition of the RIBBON CONTROLLER section located at the bottom of its GUI (Graphical User Interface). It allows users to control several parameters at once using a mouse or external MIDI (Musical Instrument Digital Interface) controller, and — unlike a hardware ribbon controller — also has a tempo-based SPRING BACK feature with QUANTIZE and BIPOLAR mode. Performance-wise, PLAY MODE now features a LOCK PLAY function — helpful if using an MPE (MIDI Polyphonic Expression) keyboard.

Expanded effects really represent the finishing touch to BIT-2 with some superb-sounding additions alongside other improvements, including Rob Papen’s proprietary REVERB that sounds superb, so no need — necessarily — to add reverb externally.

Ending where we began, BIT stands for ‘Back In Time’ but when working with the boosted BIT-2 it could just as well be taken to mean ‘Be Inspired Today’ — thanks to the analogue synthesis-modelled virtual instrument’s improvements and additions. As Rob Papen proudly points out by way of ending on a hands-on high note, “We now have animated dials in BIT-2, more modulation slots and modulation options, and last, but not least, many new presets by both myself and others have been included in this update… enjoy!”

BIT-2 is available as a 64-bit AAX-, AU-, VST- and VST3-compatible virtual instrument plug-in for Mac (OS X 10.13 or higher) and as a 32- and 64-bit VST- and VST3-compatible virtual instrument plug-in for PC (Windows 7 or higher) — with 64-bit AAX compatibility available for PT 12 or higher (PC) — at an introductory promo price of €74.00 EUR/$74.00 USD until June 1, 2023 — rising thereafter to its regular price of €99.00 EUR/$99.00 USD — from authorized Rob Papen resellers worldwide or as a download directly from Rob Papen itself for the same pricing from here: https://www.robpapen.com/bit2.html (Owners of BIT can upgrade to BIT-2 at an introductory promo price of €26.00 EUR/$26.00 USD until June 1, 2023, rising thereafter to its regular price of €35.00 EUR/$35.00 USD.)

BIT-2 is included in the latest version of Rob Papen’s all-encompassing eXplorer-8 bundle (https://www.robpapen.com/explorer-8.html) at no additional cost, so existing owners only have to download the latest installer and run it to add BIT-2 to their Rob Papen virtual instrument and effect plug-in collection.

For more in-depth info, including some superb-sounding audio demos, please visit the dedicated BIT-2 webpage here: https://www.robpapen.com/bit2.html

Watch an insightful introductory BIT-2 video — featuring a voice-over from Rob Papen himself — here:

About Rob Papen (www.robpapen.com)
Self-confessed synth freak and world-renowned sound designer Rob Papen started working with synthesizers at the tender age of 15 when purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer. Suitably inspired, he subsequently released several albums as part of Dutch electronic music groups Peru and Nova — the latter featuring the same members as Peru, but with a more commercial slant — with whom he enjoyed number one hit singles in The Netherlands (Nova) in 1982 and Austria (Peru) in 1988. Peru disbanded in 1993, by which time Rob had already established himself as a sought-after sound designer, creating presets for the likes of Waldorf, Access, Ensoniq, and E-mu, before going on to found his namesake company in pursuit of creating a sound designer’s dream synth. That software dream soon became reality when Rob formed the RPCX (Rob Papen ConcreteFX) partnership with music software developer Jon Ayres to develop new Rob Papen virtual instruments and effects plug-ins, starting with BLUE — an exciting-sounding, self-styled ‘Crossfusion Synthesis’ affair (combining FM, Phase Distortion, Wave Shaping, and Subtractive synthesis into one powerful dream synth) — in 2005. Today Rob Papen soundware defines cutting-edge contemporary music production: powerful virtual instruments and effect plug-ins that intermix innovative design, uncompromising sound quality, and musical, production-grade presets to make tracks truly shine, whatever the musical genre… Inspiration Soundware, indeed!

© 2023 Rob Papen Inspiration Software