NEW YORK, NY, USA: having sold out of its initial production run, unique products-producing hardware startup Physical Synthesis is proud to announce that it is working with San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) to bring its game-changing Cicada — an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before being reconverted back into a new, never-heard-before electronic sound — to a wider audience in advance of Nymph, its upcoming Eurorack module…
It is fair to say that every once in a while, a moment comes along whereby human interaction with sound changes completely. Cicada is effectively one of those moments — one of those new instruments that move the needle in music technology. Indeed, it is pioneered by unique products-producing hardware startup Physical Synthesis as an ‘acoustic synthesizer’ that transforms electronic signals into physical vibrations that can be fully manipulated before
being reconverted back into a new, never-heard-before electronic sound. Says company founder Spencer Topel: “Cicada was the first step in introducing physical synthesis methods to the synth community; it is an award-winning interface that really lets musicians explore microscopic sounds with precise control.” Clearly, Cicada made musical waves when winning the Judge’s Special Award at the Guthman Musical Instrument Competition 2022, hosted by Georgia Tech School of Music — one of the few schools in North America that offers Music Technology as a major in undergraduate, graduate, and Ph.D. levels of study — as an annual event dedicated to identifying the newest and greatest ideas in music.
Musical waves notwithstanding, ‘noise’ is a subjective term; while electromechanical devices like speakers or headphones try to minimize the distortion inevitably introduced in physical systems, Cicada is designed to precisely exploit these distortion products as the basis of a new kind of synthesis. Cicada converts voltages to vibrations in a mechanical oscillator to create intermodulation — the addition of frequency content in a nonlinear system — in place of typical analog or digital oscillators. By bringing the signal chain into a physical space, Cicada allows users to shape such content with natural, tactile gestures that truly transcend twiddling with a knob or pushing a slider. “As a violinist and composer, my experience of creating sound is highly physical,” proclaims Spencer Topel, adding: “With Cicada, I wanted to make an instrument that connects these elements, allowing musicians to produce complex, compelling sounds, but through tactile interaction.”
Insofar as actually doing what it does, Cicada receives two Eurorack-level signals that drive oscillation in a cantilevered Bridge positioned atop a Soundboard at an adjustable height. Digging deeper, distortion caused by the Bridge-Soundboard interaction adds frequency content to the input, determined by the specific qualities of the system. Self-explanatory Polycarbonate Soundboard, Foam Soundboard — made of EVA (Ethylene-Vinyl Acetate) foam, and Wood Soundboard — made of Birdseye maple — options each provide a range of resonating/filtering properties that combine uniquely with the likes of the Coral Wing Bridge — tip made of solid oak (resulting in a bright, clear tone), Coral Dual Tip Wing Bridge — tip made of premium rubber (allowing for a hard, precise attack with a balanced low-end), and Grey Wing Bridge — tip made of soft neoprene foam (resulting in a mellow, balanced acoustic effect); each pairing opens up a portal to a distinct sonic universe.
Users can dynamically change the system (and, therefore, how it is transforming signals) by adjusting the Bridge height, changing the region and degree of contact between Bridge and Soundboard, or applying pressure to either — effecting real-time, tactile timbral control, in other words.
With that being said, premium vibration damping materials, such as Delrin, and custom circuitry minimize unwanted noise, allowing the intermodulation products to shine, while the output, captured by a pickup microphone positioned beneath the Soundboard, can be monitored directly, processed modularly, or recorded into a DAW (Digital Audio Workstation).
With behaviors akin to those exhibited by a traditional acoustic instrument, Cicada is highly responsive to differences in the excitation mechanism — the input signal, in other words. As an example, striking a snare drum with a stick or using it with brushes produce vastly different-sounding results; driving Cicada with quiet or loud, spectrally simple or complex, or bass- or treble-heavy signals similarly yield very different timbres.
Though Cicada is designed to work with a Eurorack setup out of the box, one of its strengths lies in its inherent flexibility. Indeed, it can just as easily receive signals from a DAW, boosted to the appropriate 5-10Vpp level via an outboard mixer. Moreover, the choice of input is completely left open to the user: an Ableton Live loop run through Cicada acting as a physical filter to provide timbral variety over time, for example; an LFO (Low-Frequency Oscillator) from a Eurorack module, generating rich percussive tones on the maple Soundboard as the foundation of a beat; or a harmonically dense signal — similar to the output of a Max/MSP FM patch (which many would, without doubt, prefer to navigate physically rather than digitally) — made by moving the Bridge around the Soundboard to amplify certain harmonics and suppress others, finding a grittier sound with the Bridge barely touching or coaxing a more ethereal tone with it centered and depressed.
Endless exploration possibilities are a given, guaranteeing that any sonically-ambitious Cicada user is likely to while away the hours playing with input signals, system configurations, gestures, modulation combinations, and more.
It is hardly surprising, then, that Physical Synthesis sold out of its initial Cicada production run, really hitting a home run by counting luminaries like renowned electronic music composer and performer Hainbach — citing Cicada as being “The Tesla of electro-acoustic workstations, miles ahead of standard piezo and solenoid boxes…” — and Ableton CEO Gerhard Behles amongst its fan base, and has now turned to work with US-based distributor Electro Distro’s growing global network of dealers to bring its game-changing ‘acoustic synthesizer’ to a wider audience. “I want to bring acoustic synthesis to a wider range of musicians,” maintains Spencer Topel, before ending on a high note: “We are building some really exciting expansions of Cicada to different formats, including a Eurorack module called Nymph, which is coming soon.”
Physical Synthesis’ ‘acoustic synthesizer’ is now available as Cicada Founders Edition Extended — encompassing two dual AMPs, one PRE, one Actuator, five Bridges, three Soundboards, three Meanwell power supplies, three custom SATA Cables, and one custom Nanuk 935 Flight Case — for $2,700.00 USD or as Cicada Pro Series individual modules — starting at $79.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) or directly from Physical Synthesis’ Online Shop (https://shop.physical-synthesis.com).
For more in-depth information, please visit the dedicated Cicada webpage here: https://www.physical-synthesis.com
Watch Physical Synthesis’ intriguing introductory video for Cicada here:
About Physical Synthesis (www.physical-synthesis.com)
Physical Synthesis is a hardware startup producing unique products that bridge the virtual and physical world through patented sound and haptic technologies. It is based in Brooklyn, New York, USA, and Portland, Oregon, USA, where it builds state-of-the-art musical instruments for musicians and artists while providing hands-on sound solutions for the purpose of business and commercial applications.
© 2022 Physical Synthesis
Kungälv, Sweden: boutique recording equipment maker Lindell Audio is proud to announce the availability of its LiN2A Vintage Leveling Amplifier — authentically reproducing the tonal quality and ease-of-use of the de-facto dynamics processor of the past 60 years with its latest exquisitely engineered release ready for today’s studio setups — as of December 6…
As an aptly-named Vintage Leveling Amplifier that is …proudly designed in Sweden — as accentuated on its no-nonsense front and rear panels, respectively, the ’2A-style compression of Lindell Audio’s LiN2A forgoes the conventional ratio, attack, and release
controls of other compressors in favor of a simple two-knob — GAIN (up to 40dB ±1dB) and PEAK REDUCTION — control scheme with program-dependent responsiveness for instant results. Reality dictates that it is impossible for anyone to make it sound bad, but that simple interface belies its versatility.
Thanks to its superlative Black Lion Audio T4BLA Custom T4B optocell element, the LiN2A can effortlessly deliver smooth gain reduction and transparency — think transparent level-smoothening for silky vocals or adding a bit of bite and weight to bass and kick tracks. Creatively combining this with a dynamically responsive Compress (≈3:1) or hard Limit (∞:1) Mode makes for true tube-driven optical compression and limiting with ultra-fast attack and level-dependant release — dictated by that Black Lion Audio T4BLA Custom T4B optocell element, effectively reproducing the tonal quality and ease-of-use of the de-facto dynamics processor of the past 60 years, meticulously manufactured for today’s studio setups.
Readily rounding out this exquisitely engineered 2U rack-mount design — duly housing two US-manufactured Cinemag transformers — is a front panel-positioned vintage-style VU (Volume Unit) meter with Output +4, Output +10, and Gain Reduction metering options, as well as rear panel-positioned INPUT and OUTPUT on balanced ¼-inch TRS jacks to ensure easy connectivity between the LiN2A and other hardware. Hearing and seeing what the LiN2A does so well is clearly a given.
A RAD Distribution company, Lindell Audio’s LiN2A is shipping and available at a MAP (Minimum Advertised Price) of $699.00 USD — RAD Distribution is also the exclusive North American distributor for Lindell Audio products (http://www.raddist.com/lindell-audio.php) — and an SRP (Suggested Retail Price) of €929.00 EUR — including VAT (Value Added Tax) — in the EU (European Union).
For more in-depth information, please visit the dedicated LiN2A webpage here: https://lindellaudio.com/en/products/lin2a
About Lindell Audio (http://lindellaudio.com)
Founded in 2010 by Swedish producer, remixer, and songwriter Tobias Lindell, leaning initially towards designing recording equipment to satisfy his own way of working, Lindell Audio makes boutique recording equipment. As a resident producer at Bohus Sound Recording in Kungälv, Sweden, he has produced and mixed many hit records throughout the years, including working with Swedish rock royalty Europe (Last Look at Eden) and Swedish heavy metallers Mustach (Latest Version of the Truth).
© 2022 Lindell Audio
From visceral vocalizations to otherworldly cinematic textures
£29 / $29 / 29€
Explore the outer reaches of the human voice with this incredibly unique world of cutting-edge textures, rhythms, and evolving drones. Curated and produced by composer and sound artist Lea Bertucci, this powerful tool captures the radical vocalizations of herself and three renowned pioneers of the avant-garde — Audrey Chen, Cansu Tanrikulu & Phil Minton. From earth-shaking bass drones to window-shattering sound effects, whispers, rhythmic clicks, and glissandi to haunting multiphonic choirs; these alien-like instruments will hum, hiss, heckle and haunt to create immediate tension, atmosphere, horror, and beauty — a treasure trove of delights and terrors for any experimental producer, beatmaker or film composer.
The plugin’s radically transformative processed signal and in-built controls take the organic sounds to new sonic realms to create complex otherworldly synth textures, rhythms, and sound effects beyond your wildest dreams — designed to inspire and breathe new life into your compositions.
“With this library, we set out to push the human voice to new extremes – and what we’ve ended up creating is a completely wild and unique toolkit that allows the user to rethink vocalisation in terms of texture and timbre.”
— Lea Bertucci
VISCERAL VOCALISATIONS
Expand your sound palette with 49 original presets, bursting with invention — ideal for creating cinematic trailer music and non-diegetic sound FX, particularly for horror or sci-fi, or adding texture, atmosphere and a distinctly human element to any genre of music. Xtended Vox captures the unique voices and sonic vocabularies of Lea Bertucci and three acclaimed vocal artists, stretching across varying generations and geographies and melding free improvisation with formalized composition. The original vocal recordings have been taken to new sonic dimensions using multiple outboard and digital processing techniques, accessible via the dynamics fader—cycle through layers of varying processing, each unique to each individual preset. The library encompasses the most radical and eccentric of vocal techniques, from visceral throat singing to alien nasal sounds; from the most fragile of whispers and birdsong-like whistles to lip trills, yodels, shrieks, and ululations — pushing the boundaries of what can be done with a contemporary voice.
FEATURES
SPITFIRE AUDIO X SA RECORDINGS
Following Bertucci’s acclaimed sample library and record release in 2020, Acoustic Shadows, Bertucci returns with her new EP — Xtended Vox, out now via SA Recordings — the London-based label dedicated to supporting and releasing music created by contemporary composers and sound artists. The EP features the same vocal artists as the sample library — Audrey Chen, Phil Minton and Cansu Tanrikulu — as well as Ben Vida, collaborating with Bertucci on the first single, Tulsa. Bertucci describes the compilation as “deeply human music” — celebrating the voice as the first and only innate instrument and bringing it into a contemporary context, with diverse and contrasting approaches from each of the collaborators.
The EP is out now on the SA Recordings website — both digitally and as a limited edition 12-inch gatefold vinyl.
Lea Bertucci
AVAILABILITY & PRICING
Link – https://www.spitfireaudio.com/lea-bertucci-xtended-vox
RRP Price: £29 / $29 / €29
About Lea Bertucci (http://lea-bertucci.com/)
Lea Bertucci is a New York-based experimental musician, composer, and performer whose work explores relationships between acoustic phenomena and biological resonance. Bertucci’s approach to music is marked by dense masses of sustained dissonance and a fascination with the sonic substance of common experience. Her work spans over a decade, with 8 full-length solo albums and a number of collaborative projects. In 2018 and 2019, she released solo albums Metal Aether and Resonant Field on NNA Tapes and has since gone on to found her own label, Cibachrome Editions, with 2021’s A Visible Length of Light as the inaugural release followed by 2022’s Murmurations, a duo with composer, improviser, and artist Ben Vida.
In addition to her longstanding practice with woodwind instruments, her work incorporates spatialized speaker arrays, radical methods of free improvisation, and creative misuses of audio technology. In recent years, her projects have expanded toward site-specific and spatially aware projects that initiate new access points to architecture.
Xtended Vox follows her highly acclaimed 2020 release, Acoustic Shadows — a sample library, and an LP (released on SA Recordings) which received praise as Boomkat’s top 5 albums of the year, and The Guardian’s contemporary album of the month.
About Audrey Chen (http://www.audreychen.com/)
The second-generation Chinese / Taiwanese- American musician specializes in the cello, voice, and occasional analog electronics. Chen’s work delves deeply into her own version of narrative and non-linear storytelling. A large component of her music is improvised and completely unprocessed, with an extremely personal and visceral approach to music creation.
About Cansu Tanrıkulu (http://www.aysecansutanrikulu.com/)
A multimedia artist, composer, and vocal improviser based in Berlin, Tanrikulu is one of the busiest young voices in the European Creative Music Scene, leading multiple bands, including PILED UP by Tanrıkulu, Melez, MeoW, Tanrıkulu/Cohen/Delius and Last Chance to Misbehave. Her elastic singing, wide stylistic vocabulary, and far-reaching approach to melody and text-based improvisation have made her an in-demand vocalist in multiple genres, actively performing at several renowned European jazz festivals. As a composer and a conceptual thinker, Tanrıkulu’s initial instinct is to frame topics that are hard to imagine as musical entities and work with exceptional creative personalities.
About Phil Minton (https://www.philminton.co.uk/)
A UK-based pioneer of the avant-garde. From the early 60s, Minton played trumpet and sang in The Mike Westbrook band, going on to work as an improvising singer in groups, choirs, orchestras, and other contexts, all over the world. His Feral Choir, where he voice-conducts workshops and concerts for anyone who wants to sing, has performed in over twenty countries, and composers have since written pieces that employ his extended vocal techniques and improvisations. He now sings as part of a quartet with Veryan Weston, Roger Turner, and John Butcher.
About SA Recordings (https://sarecordings.com/)
SA Recordings is a London-based record label and music platform dedicated to songs and sounds by contemporary composers. Their mission is to nurture and support a sonically diverse, international roster of innovative music makers.
SA Recordings is committed to releasing digital and physical works, commissioning creative projects, producing limited-edition merchandise, and developing bespoke, artist-led sample libraries in collaboration with Spitfire Audio.
About Spitfire Audio (https://www.spitfireaudio.com/)
Spitfire Audio is a British music technology company that specializes in sounds — sample libraries, virtual instruments, and other useful software devices. It collaborates with the best composers, artists, and engineers in the world to build musical tools that sound great and are exciting to use.
Spitfire Audio was founded by two award-winning composers: Christian Henson and Paul Thomson. Born out of their shared dissatisfaction with string sample libraries, they pooled their resources and decided to record their own string samples at the legendary Air Studios in London. Initially, they invited a limited number of friends and associates to own copies of their samples, but whispers of this private sample club soon started to echo across the Atlantic Ocean throughout the composer community. Within a year, some of the most renowned composers in film and television signed up, so Paul and Christian decided to take their samples public.
To date, Spitfire Audio has recorded and released over 100 sample libraries, collaborating with some of the biggest names in media composition, including Hans Zimmer, Eric Whitacre, Ólafur Arnalds & the London Contemporary Orchestra. Spitfire Audio’s sounds are heard in everything, from major Hollywood film scores to recordings by Radiohead and U2. Paul and Christian’s initial side project is now a thriving international music technology enterprise, with a uniquely experienced and diverse workforce, all focused on a shared mission: to inspire a generation of composers. The composer team remains at the center of the business, drawing on their own experience as obsessive music makers to explore the needs and wants of their fellow composers.
Launching a faithful exclusive recreation of Genesis’ famous stone live roomand its unique signal chain that defined the ’80s drum sound and is still in demand today
December 1, 2022 – IK Multimedia releases an update for T-RackS bringing full native compatibility with Apple M1 and M2 processors along with T-RackS The Farm Stone Room, a brand-new plug-in designed to give drum tracks the sonic impact that only a rare type of stone live room can offer. Phil Collins made history when he tracked the explosive drum sounds for “In the Air Tonight.” Awash in the unique ambiance of the studio’s stone-walled drum room and crushed by compression, it became one of the most recognizable and sought-after drum sounds from the ’80s and still to this day.
Seeking to recapture that magic in their own studio, “Fisher Lane Farm” in the UK, the band Genesis rebuilt a drum room to the same specs as the one where the iconic drum sound was first produced. And while both rare stone live rooms are sadly now gone, IK was given exclusive access to Genesis’ own Fisher Lane Farm before it closed to preserve its distinctive sound forever in The Farm Stone Room.
Intuitive and Flexible Controls
Even those unfamiliar with the award-winning line of T-RackS mixing and mastering plug-ins will find the controls in The Farm Stone Room easy to use, yet powerful and comprehensive. This single-panel plug-in contains all of the main tone-shaping elements of the original space and more.
The Mono Crush controls are unique to The Farm Stone Room, capturing the room in punchy and dirty mono using a vintage STC® 4021 “Ball & Biscuit” mic. An SSL® Listen Mic Compressor (LMC) was modeled and inserted in this section, which blended with the stereo Neumann® U87s room mics, gives that amazing drum sound you hear on tracks like Phil Collins’ “In The Air Tonight,” Genesis’ “Mama” and Peter Gabriel’s “Intruder.”
The Story Behind the Sound
The stone walls of this relatively small-sized room give drums a huge sound, especially when run through the SSL® 4000E mixing console’s Listen Mic Compressor to crush the sound in the manner that was discovered and used by Hugh Padgham at both The Town House (also known as Townhouse Studios) and Fisher Lane Farm, all faithfully reproduced here.
These studios no longer exist and there are few, if any, similar stone drum tracking rooms left in the world. Fortunately, thanks to Genesis and the help of Dave Kerzner and Producer/Engineer Nick Davis, IK was invited to the Fisher Lane Farm in Surrey, UK to fully capture all of the elements of this rare and special space before it was closed.
Why Get The Farm Stone Room?
For decades artists, producers and engineers have looked for ways to make drums sound massive. One of the most important elements to achieving great drum sounds are the sounds of rooms and room emulation reverbs. This is one reason IK’s Sunset Sound and FAME Studio Reverb plug-ins are so popular. Now, with The Farm Stone Room, you can achieve a drum room sound that was previously only possible by recording in a specially-designed stone live room.
Whether it’s to have a drum sound as big as top hits recorded in the ’80s or to add another dimension of HUGE to drum sounds useful in all styles of modern music from rock to hip hop, nothing else can get the big smashed drum sound of T-RackS The Farm Stone Room.
The Power of T-RackS
Like all T-RackS plug-ins, The Farm Stone Room offers two ways to work: as a single plug-in, or within the T-RackS 5 shell.
Pricing and Availability
T-RackS The Farm Stone Room is available now from the IK Multimedia online store and from IK authorized dealers worldwide at a special introductory price of $/€79.99* (reg. $/€99.99).
*All pricing excluding taxes.
For more information about The Farm Stone Room or to see it in action, please visit:
www.ikmultimedia.com/
and
www.ikmultimedia.com/
IK Multimedia. Musicians First.
www.ikmultimedia.com
PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce the availability of VoxDucker as founding partner SounDevice Digital’s latest plug-in — promoting the time and energy efficiency savings of automatic voice-over mixing using side-chain with three different types of ducking (Broadband, simply lowers the backing track volume; Multiband, ducks certain frequency bands only; and Spectral, analyses the voice spectrum to duck only where needed) for varying transparency to allow more of the ducked signal to be preserved while keeping the side-chain signal clear and audible, aimed at audio-book creators, broadcasters, podcasters, and video-makers, although it can work well on other signal types (including, for example, kick drum and bass or vocal and guitar), while perfectly partnering with SounDevice Digital’s Voxessor (applied to the voice track) to create perfectly balanced and legible voice-overs in seconds — as of November 22…
As audio-book creators, broadcasters, podcasters, and video-makers can too often testify, the delicate art of mixing the human voice with background music to create a perfectly balanced and legible voice-over can all too often prove to be a time-consuming, possibly painful process. It is, in fact, fraught with decision-making minutiae, given that each and every human voice is a unique-sounding proposition in itself while background music can clearly vary wildly in style and
content. It is arguably far from the simple process that it could — or, some might say, should be — but, fortunately for anyone seeking a simpler solution, SounDevice Digital duly provides an answer in response to its own question: Do you need to deliver a perfectly clear and focused voice-over, but you also want to preserve as much of the impact in the backing as possible? Then use VoxDucker by SounDevice Digital!
Since SounDevice Digital’s VoxDucker promotes time and energy efficiency savings of automatic voice-over mixing using side-chain, it is simply a case of placing it on the track to be ducked — typically the backing music track — and routing the human voice into the plug-in’s side-chain input. It listens to the voice track, then ducks the music out of the way, thereby keeping the main focus on the voice itself.
Simpler still, since VoxDucker has been extensively tested in multiple scenarios, it is preset so that — in most cases — users only need to use the depth [%] control to set the amount of ducking to produce perfect results. Digging deeper is, of course, perfectly possible since the plug-in provides controls for fine-tuning the ducking process — primarily three different types of ducking, each offering varying levels of transparency to allow more of the ducked signal to be preserved by focusing the ducking on frequencies present in the side-chain signal. Simply switch between Broadband — ducks the entire signal; Multiband — uses six bands tuned to respond well to the human voice, preserving more of the backing as the bands with the least activity are ducked less; and Spectral — analyses the voice spectrum to duck only where needed as the most accurate mode of all, preserving most of the backing because only the frequencies present in the side-chain are removed from the input, albeit at the expense of increased latency and CPU (Central Processing Unit) usage.
Audible assistance apart, VoxDucker’s value in terms of time and energy efficiency savings also extends to its minimal yet informative GUI (Graphical User Interface), allowing users to focus only on the controls deemed to be of most importance, including an extensive metering section: gr shows the extensive gain reduction applied to the music track; in measures the track’s input volume; side shows the input volume of the side-chain channel (typically the voice-over track), and out shows the overall output volume of the track — instant visual feedback on the all-important ducking amount, as well as input, output, and side-chain signal levels, in other words.
But back in VoxDucker’s wonderful world of processing audio, threshold [dB] controls the level at which the ducking will start, look-ahead [ms] controls the amount of offset for the detection, and smoothness [%] controls the amount of smoothing of the detected signal by using an RMS (Root Mean Square) window and a soft knee to the dynamic shape, while attack [ms] — ranging from 10 to 1000 milliseconds — controls how quickly the signal will start ducking when the side-chain signal exceeds the threshold and release [ms] — ranging from 100 to 5000 milliseconds — controls how quickly the signal will return to normal after the side-chain signal drops below the threshold.
That being said, VoxDucker shares several admirable attributes with fellow family members now numbering 30 plug-ins, each playing their part in United Plugins’ proliferating product portfolio, providing maximum audio quality by using internal 64-bit audio processing as well as being able to handle any sampling rate — 192 kHz (or even higher) — and also the fact that it intelligently detects whether it makes sense to perform any processing at all; if not, it temporarily turns on sleep mode, meaning it requires virtually no CPU power at all, thereby saving computing resources for other processes. Putting a photorealistic 3D yet flexible GUI to the test with VoxDucker, likewise, leaves its users with the impression that they are working with real world hardware; however, it easily adapts to their needs since they can always drag the arrow at the bottom-right corner to change its size — smaller to save precious ‘screen estate’ or larger to make it easier on the eye and, as a result, even easier to use than it already is.
Indeed, it is fair to say that VoxDucker and its equally-easy-to-use SounDevice Digital-developed Voxessor (https://unitedplugins.com/Voxessor/) sibling — duly designed to automatically fix volume imperfections inherent in an artist’s natural performance to achieve a smooth and flawless voice-over workflow — make for a perfect partnership. Placing Voxessor on the voice track and VoxDucker on the backing track results in a well-balanced mix that preserves as much of the backing as possible for maximum impact while simultaneously delivering a clear and focused voice that takes centre stage. It is well worth noting here, however, that VoxDucker can also work well on other signal types (including, for example, kick drum and bass or vocal and guitar).
Whichever way anyone chooses to use VoxDucker, it is clear that the delicate art of mixing the human voice with background music to create a perfectly balanced and legible voice-over need not prove to be a time-consuming, possibly painful process, after all.
VoxDucker is available to purchase for a time-limited introductory promo price of only €15.00 EUR until the end of 2022 — rising thereafter to its regular price of €59.00 EUR — as an AAX-, AU-, VST-, and VST3-compatible plug-in (using internal 64-bit audio processing capable of handling any sample rate) directly from its dedicated webpage (https://unitedplugins.com/VoxDucker/), where a 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10/11 can also be downloaded for free. (It is also available for free when purchasing Voxessor — https://unitedplugins.com/Voxessor/ — through to December 4, 2022.)
Note that no iLok, dongle, or internet access is required for VoxDucker activation. (All United Plugins software uses license files for activation and owners can freely use purchased software on all their computers as long as they are the user.)
See and hear VoxDucker in action while watching United Plugins’ illuminating introductory video here:
About United Plugins (www.unitedplugins.com)
As implied in the carefully chosen wording for an apt appellation that really represents how the Prague-registered Limited Company came about and what it collectively creates, United Plugins is a federation of small, independent development teams comprised of individuals involved in the music industry. Indeed, the founding triad of FireSonic, JMG Sound, and SounDevice Digital can count engineers, producers, and artists amongst their ‘united’ names. Needless to say, all were seeking the freedom to create the tools that they would like to use in their studios and on their projects. And all agreed that this could be better achieved when working together. Though United Plugins’ proliferating product portfolio may not always be for the musical masses, surely someone, somewhere will always find those tools to be a perfect fit for their own music productions… just like those inventive individuals behind United Plugins’ partner brands, the ranks of which have since swelled to include Muramasa Audio and MeldaProduction. Thanks to the latter letting United Plugins utilize its super-easy licensing system, which is why selected MeldaProduction products are also available from the United Plugins website, a thriving future for the federation is assured.
© 2022 United Plugins
ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce the availability of eXplorer-8 — effectively released as the eighth edition of its all-singing, all-dancing bundle, bolstered by the simultaneously-shipping BLUE-III virtual synthesizer and RevSane virtual effect plug-ins to comprehensively include all 30 Rob Papen products presently available (if including its PRISMA plug-in permitting users to creatively combine up to four of virtual instruments into a single so-called ‘prismatic’ sound source, and available for free to owners of eXplorer-8 after registering their bundle) — as of November 18…
All-singing, all-dancing in the truest sense of the phrase, Rob Papen’s enhanced eXplorer-8 bundle will soon be bolstered still further with a major overhaul of B.I.T. (Back In Time) — truly an apt acronym for the virtual instrument and effect plug-in developer’s virtual synthesizer fit for modern-day DAW (Digital Audio Workstation) workflow with its inspirational sights set solely on
analog-modeled synthesis, rather than combining the best of analog modeling with hybrid synthesis techniques that have hitherto formed the much-admired musical backbone of the company’s classy creations — that is scheduled for release in early 2023; until then, those exploring eXplorer-8 will, without doubt, delight in its inclusion of the simultaneously-shipping BLUE-III virtual synthesizer and RevSane virtual effect plug-ins as the latest Rob Papen products to swell the creative ranks of this must-have production package, now numbering all 30 available Rob Papen products.
Put it this way: when released in its first incarnation as BLUE back in 2005, this virtual synthesizer already reflected Rob Papen’s cutting-edge, creative, and — most importantly — musical approach towards developing virtual synthesizers, with Rob Papen himself calling it ‘cross-fusion synthesis’ since it combined the best aspects of subtractive and FM (Frequency Modulation) synthesis into one creative concept, one which was expanded still further in its BLUE-II successor to include a creative range of samples and a highly-versatile XY pad. Pushing onwards and 
upwards, the concept for BLUE-III remains true to that ethos, expanded to include more sound dimensions and features in perfect step with its extended name — namely, String Model, the virtual instrument and effect plug-in developer’s take on the Karplus–Strong string synthesis method of physical modeling synthesis (that loops a short waveform through a filtered delay line to simulate the sound of a hammered or plucked string or some types of percussion), and a new range of spectral waveforms and samples that can also be altered at GRN (granular synthesis) level; indeed, it is now possible to load up to six samples into a BLUE-III preset, then layer them with KEY SPLIT and VEL (velocity) SPLIT points. And as if that was not enough for adventurous users to be getting on with, BLUE-III’s FILTER section has been expanded to a total of almost 40 filter types! But beyond the realms of synthesis, BLUE-III also benefits from a GUI (Graphical User Interface) makeover, making many different sizes available, where the XY pad is available at all times. The audio engine inherits DNA drawn from the B.I.T. virtual analog synthesizer, resulting in an audio quality that is unsurpassed. Ultimately, BLUE-III comes complete with 5,000-plus presets, professionally crafted by well-known sound designers as well as Rob Papen himself, honing what was already a phenomenally powerful virtual instrument into a continuing ‘cross-fusion synthesis’ journey that is guaranteed to amaze and excite in equal measure.
Meanwhile, new to the Rob Papen product lineup — and the enhanced eXplorer-8 bundle itself — is the intriguingly-named RevSane. Regular Rob Papen product users may already know that ‘Dr. Jekyll and Mr. Hyde’ influenced its DelSane effect plug-in by behaviourally swinging between an easy-to-use, lovely-sounding ‘sane’ stereo tape delay and dynamically-changing disruptive ‘insane’ delay types. This was released to widespread critical acclaim and subsequent
inclusion in eXplorer-7. Indeed, it was only a matter of time before those contrasting characteristics would make their presence felt in another ‘insane’ battle of audio wits! Welcome, then, to the strange case of RevSane, a plug-in producing beautifully dense reverb sounds fit for working with any track, in the first instance, though that is only one side of this particular production story. Ultimately, users can control the flow of the reverb parameters using the so-called DISRUPT ‘sphere’ to turn RevSane into a dynamically fresh-sounding special effect plug-in, permitting users to think outside of the fourth dimension by using reverb in creative ways. It is, for instance, perfectly possible to dynamically change spaces — without recording endless parameter movements — by simply moving the DISRUPT ‘sphere’ slider! Saying that RevSane has an audio follower that includes side-chain control of parameters, including the DISRUPT ‘sphere’ itself. It is fair to say, therefore, that RevSane is not only aimed at creative producers who will get a kick out of experimenting with the DISRUPT ‘sphere’ but also anyone simply seeking a top-tier, dense-sounding reverb with which to take their productions to the next level.
And anyone who has yet to buy into the Rob Papen Inspiration Soundware spirit surely owes it to themselves to enter the now-widened wonderful world of virtual instrument and effect plug-ins packed into the enhanced eXplorer-8 bundle; strange inclusions or otherwise, it is bound to inspire!
If including PRISMA (available for free after registering), eXplorer-8 is available — as an all-encompassing 30-product inspirational bundle of 64-bit AAX-, AU-, VST- and VST3-compatible virtual instrument and effect plug-ins for Mac (OS X 10.13 or higher) and as 32- and 64-bit VST- and VST3-compatible virtual instrument and effect plug-ins for PC (Windows 7/8/10/11) with 64-bit AAX-compatibility available for PT 12 or higher (PC) — at a time-limited promo price of €374.00 EUR/$374.00 USD throughout November 2022, rising thereafter to its regular price of €499.00 EUR/$499.00 USD, from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for those same prices via its dedicated webpage, which also features more in-depth information, here: https://www.robpapen.com/explorer-8.html (Owners of earlier eXplorer editions can upgrade to eXplorer-8 at a time-limited promo price of €74.00 EUR/$74.00 USD throughout November 2022, rising thereafter to its regular price of €99.00 EUR/$99.00 USD, while other options for upgrading to eXplorer-8 are also available to owners of other Rob Papen products.)
BLUE-III 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 7/8/10/11) with 64-bit AAX-compatibility available for PT 12 or higher (PC) — at a time-limited promo price of €111.00 EUR/$111.00 USD throughout November 2022, rising thereafter to its regular price of €149.00 EUR/$149.00 USD, from authorized Rob Papen dealers worldwide or as a download directly from Rob Papen for those same prices via its dedicated webpage, which also features more in-depth information, here: https://www.robpapen.com/blue3.html
Watch Rob Papen’s inspirational introductory BLUE-III video — featuring a voice-over from Rob Papen himself — here:
RevSane is available — as a 64-bit AAX-, AU-, VST- and VST3-compatible virtual effect plug-in for Mac (OS X 10.13 or higher) and as a 32-and 64-bit VST- and VST3-compatible virtual effect plug-in for PC (Windows 7/8/10/11) with 64-bit AAX-compatibility available for PT 12 or higher (PC) — at a time-limited promo price of €36.00 EUR/$36.00 USD throughout November 2022, rising thereafter to its regular price of €49.00 EUR/$49.00 USD, from authorized Rob Papen dealers worldwide or as a download directly from Rob Papen for those same prices via its dedicated webpage, which also features more in-depth information, here: https://www.robpapen.com/revsane.html
Watch Rob Papen’s inspirational introductory RevSane 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 analog Korg MS-20 semi-modular monosynth and accompanying analog 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!
© 2022 Rob Papen Inspiration Software
LOS ANGELES, CA, USA: having recently made musical waves by being debuted Stateside at Knobcon Number Ten and Brooklyn SYNTH+PEDAL EXPO in September and October, respectively, black-owned Eurorack modular synthesis and electronic musical instrument manufacturer Modbap Modular is proud to announce that it is now shipping Trinity — the fourth Eurorack entry in its growing product portfolio as a three-channel DIGITAL DRUM SYNTH ARRAY (effectively performing as three powerful drum voices packed into a 20HP module with a tip of the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition, albeit with some neat production tricks thrown into the musical mix) — and HUE — its immediate followup as an AUDIO COLOR PROCESSOR (packing a chain of five effects into a 6HP-width module, making drums bang with more magnitude and melodies morph into lush lo-fi tones) — as of November 11…
Trinity takes the simple idea of tipping the proverbial (electronic hi-) hat to the typical (kick, snare, and hi-hat) core elements of any modern beat-driven composition and flipping that on its head by combining its three channels with an array of drum synth algorithms that use various synthesis types — namely, BLOCK (analogue-inspired drum synth building blocks featuring a sine and triangle core; great for traditional electronic drum creation), HEAP (additive drum synth
with 12 partials; great for fun, natural sounds and pitched, percussive sounds), NEON (FM drum synth engine; great for high-quality FM drums, clangorous metallic percussion, and more), and ARCADE (quirky noise generator synth, reminiscent of classic Eighties-era arcade games with zaps, crashes, explosions, and more; great for claps, hi-hats, and even some vinyl noise approximations, as well as all sorts of fun percussion and degraded noises) — to allow for a wide variety of drum design capability that achieves and reaches far beyond the conventional. Clearly living up to its front panel-positioned DIGITAL DRUM SYNTH ARRAY wording, which immediately steers its users into a certain way of thinking, Trinity’s array of digital drum synth algorithms are very malleable, thanks to the seven sizeable knobs and four mini-pots positioned in the upper half of that distinctive-looking, triple-color-highlighted-branded front panel. Put it this way: each control a specific parameter and characteristic — PITCH, SWEEP, TIME, SHAPE, GRIT, DECAY, EQ, CLIPPER, HOLD, VOL (volume), and, of course, CHARACTER — for each drum voice. The three — DRUM CV1, DRUM CV2, and DRUM CV3 — channels each have their own TRIG (trigger) and V/OCT (one-volt-per-octave) inputs in addition to extensive CV input options, all available for front panel-positioned patching purposes.
Trinity takes its capabilities several steps above and beyond anything comparable in the modular Eurorack world with CYCLE MODE options offering round-robin and random playback, as well as two STACK modes. Musically, round robin cycles through the drum algorithm types one after another with each trigger, while random randomises the parameters of a channel’s chosen drum algorithm type with each trigger. Those STACK modes are inspired by the characteristics of chopped breaks where drums tend to overlap and fan out, depending on the content of the chopped source material. Trinity’s take on that allows the second and third drum channels to be triggered by the primary channel’s TRIG and V/OCT inputs; in addition, ‘secondary’ STACK SPREAD functionality allows for fanning out the stacked drums to taste.
Trinity’s uniquely performable and switchable OUTPUT matrix allows for the routing of each drum channel’s output to the MIX output, the individual — DRUM1, DRUM2, and DRUM3 — output, or ALL. As such, easy performability, mutability, parallel processing, or side chaining are all perfectly possible. Thereafter, Trinity’s USB MIDI connection allows for MIDI control over various parameters via one USB cable. Clearly, USB MIDI makes instant integration a cinch by simply connecting one USB cable from Trinity to a groove box or computer.
All in all, then, Trinity packs a hefty percussive punch, weighing in at a 20HP width with 11 knobs, three drum channels, three trigger buttons, four drum algorithms based on four different synthesis types, 24 CV inputs, three-output switching with three individual outputs, a mix output, and MIDI-over-USB connection belying its 26mm depth.
HUE, however, simply colors its user’s sound — hence highlighting that the aim of its name is true, thanks to the COLOR PROCESSOR wording written across the top of its slimline front panel. Its initial concept was born out of a debate about the techniques and processes used to make drum machines sound so big, bold, and delicious. It is worth bearing in mind here, though, that the sounds that tug at the heartstrings of boom-bap, lo-fi, and, subsequently, Modbap — meaning the fusion of modular synthesis and boom-bap (or, indeed, any form of hip-hop) — are those demonstrating great texture, lush degradation, soft distortion, and big bold strokes of color.
Classic beloved drum machines were often processed with outboard gear; recorded to tape; pressed to vinyl; played over big, booming sound systems; sampled; resampled, and so on. It is no surprise, therefore, that those are the sounds that become nostalgic and reminiscent of all that the black-owned Eurorack modular synthesis and electronic musical instrument manufacturer adores about classic lo-fi boom-bap production, with HUE representing its attempt at bringing that vibe into Eurorack as a 6HP-width module.
Acting as a COLOR PROCESSOR, HUE’s effects chain signal path is as follows: DRIVE, FILTER, TAPE (saturation), LO-FI, and COMP (compressor), with the panel layout allowing for the DJ-style FILTER knob to sit in first position for ease of tweaking — LP (low-pass) when turned to the left through to HP (high-pass) when turned to the right. Digging deeper, DRIVE boosts and lightly distorts the signal, while SHIFT+DRIVE adjusts the DRIVE tone; the TAPE effect is intended to impart cassette tape saturation, while SHIFT+TAPE adjusts the intensity; LO-FI adjusts bit depth, while SHIFT+LO-FI adjusts sample rate; and, lastly, the one-knob COMP mini-pot serves as the final glue in the signal path that brings everything together. There are also DRIVE CV, FILTER CV, TAPE CV, and LO-FI CV inputs, as well as mono INPUT and OUT connections, collectively opening up a wealth of creative possibilities. Put it this way: when throwing creative modulation at it, HUE is truly a textural beast.
But best of all, HUE puts the power to shape and transform its user’s sound at their fingertips — perfect for beefing up drums while equally as magical when working on melodic content, which is exactly why it pairs so well with Trinity, as well as Osiris (https://www.modbap.com/products/osiris), a sensational-sounding BI-FIDELITY™ WAVETABLE OSC (oscillator) module for Eurorack. It is fair to say, then, that HUE — like its Eurorack siblings — exemplifies Modbap Modular’s musical mantra: Made for Eurorack, dope enough for boom-bap! Before buying the now-shipping Trinity and HUE modules that are manifestly musical must-haves, make sure that there is at least a 26HP-width space available in the Eurorack setup allocated to accommodate them!
The now-shipping Trinity module is available to purchase — at an MSRP (Manufacturer’s Suggested Retail Price) of $549.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) — including Sweetwater (https://www.sweetwater.com), the USA’s number one eCommerce provider of musical instruments and pro audio gear — or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/trinity
See and hear Modbap Modular founder/owner/designer Corry Banks introducing Trinity here: https://youtu.be/0UEzPEdfRmU (An alternative ‘no-talking’ Trinity demo video can be viewed here:
The now-shipping HUE module is available to purchase — at an MSRP of $299.00 USD — via San Clemente, CA, USA-based distributor Electro Distro’s growing global network of dealers (https://www.electro-distro.com/dealers) — including Sweetwater (https://www.sweetwater.com), the USA’s number one eCommerce provider of musical instruments and pro audio gear — or directly via its dedicated webpage (which includes more in-depth information) here: https://www.modbap.com/products/hue
See and hear Modbap Modular founder/owner/designer Corry Banks introducing HUE here:
About Modbap Modular (www.modbap.com)
Founded in 2020 by Corry Banks, Modbap Modular is a black-owned Eurorack modular synthesis and electronic musical instrument manufacturer, making and designing its products out of Southern California, USA. Ultimately, its mission is to develop fun, forward-thinking, performance-oriented instruments, musically mindful of a DJ and beat-maker’s perspective. Putting the company’s notable nomenclature into its rightful perspective, Modbap is the fusion of modular synthesis and boom-bap — or, indeed, any form of hip-hop — music production; it is a term coined by Corry Banks himself as a denotation of his own experiments with modular synthesis and boom-bap music production. As a result, like-minded creatives built a community around the idea of Modbap. Modbap Modular itself is the result of that movement in the electronic music equipment and synthesizer design space, sold in 40-plus electronic musical instrument stores throughout North America, Europe, and Asia.
© 2022 Beatppl Inc.
The Black Weekend
Save up to 75%
Featuring Aperture Cassette Symphony – a revolutionary new orchestra, free when you spend £249 / $299 / 299€ or more
The Black Weekend Sale: https://www.spitfireaudio.com/
Thursday, November 24th at 12:00am GMT – Wednesday, November 30th at 11:59 pm GMT
Composer Clash:
https://www.youtube.com/user/spitfireaudiollp
Friday, November 25th at 5 pm GMT
Aperture Cassette Symphony:
www.spitfireaudio.com/aperture-cassette-symphony
RRP £199 / $249 / 249€
Spitfire Audio announces the Black Weekend 2022 – running from Thursday 24th November to Wednesday 30th November 2022.
The Black Weekend will feature three Exclusive bundles with up to a 75% saving, exclusive to this sale, as well as other discounts including 40% off selected Libraries, including BBC Symphony Orchestra Core and Professional, Spitfire Symphonic Orchestra range, and Hans Zimmer Drums. 25% on Individual Libraries, including Albion One and Eric Whitacre Choir, and up to 25% on Libraries released in the last 12 months, such as Polaris and Mercury.
Throughout the Black Weekend, we will be running a daily wheel spin on our website where customers logged into their account get one spin per day with lots of incredible prizes up for grabs, including libraries, gift cards, exclusive bundles, and the Everything Collection.
In addition, the new library Aperture Cassette Symphony – launching on Wednesday, November 23rd at 5 pm GMT – is free to anyone who spends £249 / $299 / 299€ during the Black Weekend. It’s then available to purchase for £199 / $249 / 249€ after the Black Weekend sale finishes.
SAVE UP TO 75% WITH EXCLUSIVE BUNDLES:
THE TON £99 / $99 / 99€
Fragile String Evolutions
Spitfire Studio Brass Core
Abbey Road One: Sparkling Woodwinds
BLACK WEEKEND CORE £249 / $299 / 299€ *
Alternative Solo Strings
Ambient Guitars
Orchestral Swarm
BLACK WEEKEND PROFESSIONAL £499 / $549 / 549€ *
BT Phobos
Orbis
Spitfire Symphonic Strings Evolutions
Hauschka Composer Toolkit
Woodwind Evolutions
* Free Aperture Cassette Symphony when you purchase the bundle in full
SAVE UP TO 40% ON LIBRARIES:
In addition to the exclusive bundles, there are savings of up to 40% on libraries, detailed below:
** Exclusions apply [see below & FAQ on the Spitfire Audio website] **
Save 40% on Selected Libraries below:
Save 25% on Individual Libraries, including:
Save up to 25% on Libraries released in the last 12 months, including:
** Exclusions Apply
All libraries under £99/$99/99€, SSDs, and hard drives. Spitfire Symphony Orchestra Professional, Symphony Complete, Symphony Complete Professional, SSO Chamber Strings Edition, SSO Chamber Strings Edition Professional, Spitfire Symphony Orchestra, Abbey Road One: The Collection.
COMPOSER CLASH
During the Black Weekend – on Friday November 25th at 5pm GMT – Spitfire Audio will also host a Composer Clash on its YouTube channel.
Watch Spitfire Audio’s in-house composers clash for the crown as they have just 30 minutes to compose a 30-second track. Voting is open to the public who will decide who the winner is and those who tune in live will have the opportunity to win over £10,000 worth of Spitfire Audio libraries during the YouTube premiere.
APERTURE CASSETTE SYMPHONY
Prepare for Orchestral time travel. Go from intimate solo players to a full symphony orchestra — in an instant — all resampled through 200 cassette players. Introducing an inspiring, world-class creative tool, unlike any other.
We have harnessed the power of a symphonic orchestra, we’ve gone back to the early days of tape sampling and taken inspiration from the sound world of the mellotron, and then blown that out of proportion – capturing strings, brass, woodwind, and percussion and resampling through 200 custom built cassette players. This one-of-a-kind library lets you move seamlessly from solo players at the softest level, right up to a full symphonic orchestra — all in the same virtual instrument.
KEY FEATURES
THE BLACK WEEKEND
The Black Weekend Sale Page URL: https://www.spitfireaudio.com/
Exclusive Bundles Sale Page URL: https://www.spitfireaudio.com/collections
‘Composer Clash’ YouTube Link: https://www.youtube.com/user/spitfireaudiollp
APERTURE CASSETTE SYMPHONY
Available – November 23rd, 2022
Aperture Cassette Symphony Product URL: www.spitfireaudio.com/aperture-cassette-symphony
RRP Price: £199 / $249 / 249€
About Spitfire Audio (www.spitfireaudio.com)
Spitfire Audio is a British music technology company that specializes in sounds — sample libraries, virtual instruments, and other useful software devices. It collaborates with the best composers, artists, and engineers in the world to build musical tools that sound great and are exciting to use.
Spitfire Audio was founded by two award-winning composers: Christian Henson and Paul Thomson. Born out of their shared dissatisfaction with string sample libraries, they pooled their resources and decided to record their own string samples at the legendary Air Studios in London. Initially, they invited a limited number of friends and associates to own copies of their samples, but whispers of this private sample club soon started to echo across the Atlantic Ocean throughout the composer community. Within a year, some of the most renowned composers in film and television signed up, so Paul and Christian decided to take their samples public.
To date, Spitfire Audio has recorded and released over 100 sample libraries, collaborating with some of the biggest names in media composition, including Hans Zimmer, Eric Whitacre, Ólafur Arnalds & the London Contemporary Orchestra. Spitfire Audio has worked closely with one of the world’s most renowned orchestras, BBC Symphony Orchestra, as well as partnered with the legendary Abbey Road Studios to create sample libraries in the iconic Studio One – considered one of the finest acoustical spaces in the world – and the famous Studio Two. Spitfire Audio’s sounds are heard in everything, from major Hollywood film scores to recordings by Radiohead and U2.
Paul and Christian’s initial side project is now a thriving international music technology enterprise, with a uniquely experienced and diverse workforce, all focused on a shared mission: to inspire a generation of composers. The composer team remains at the center of the business, drawing on their own experience as obsessive music makers to explore the needs and wants of their fellow composers.
PRAGUE, CZECH REPUBLIC: W.A. Production, producers crafting creative plug-ins to help anyone achieve studio-quality processing speedily and easily, is proud to announce the availability of Put Me On DRUMS — duly delivered as a ground-shaking drum processing plug-in created in close collaboration with chart-topping Norwegian music producer K-391 to add attitude, depth, punch, and weight to beats by processing them with intense effects as a secret weapon in the fight for creating distinctive drums that will blow listeners away — as of October 17…
As a 28-year-old Norwegian music producer and EDM (Electronic Dance Music) artist whose stock rose high hitting the number one spot in his home country with his hit single ‘Ignite’ in 2018, having hitherto proven popular with ‘russ’ — students who traditionally celebrate their final spring semester in Norwegian high schools, Kenneth Osberg Nilsen (a.k.a. K-391) knows a thing or two about adding, depth, punch, and
weight to beats. Bent on helping anyone achieve studio-quality processing speedily and easily having gained valuable insight as working producers themselves, W.A. Production knows a thing or two about crafting creative plug-ins. Put them together and the result is a musical match made in heaven. As a ground-shaking drum processor adding attitude, depth, punch, and weight to beats by processing them with intense effects as a secret weapon in the fight for creating distinctive drums that will blow listeners away, Put Me On DRUMS is as perfect for the job as it is perfectly named.
It is hardly surprising, therefore, that K-391 is impressed with the perfectly-named result, revealing, “I wanted to create a plug-in that helps producers get the most out of their drum sounds without designing long, CPU-heavy effect chains; working with W.A. Production on Put Me On DRUMS led to an incredible plug-in that helps you get fat, punchy drums in an instant — plus, you get a selection of presets I designed myself and will be using on my own productions.”
Putting into words exactly how Put Me On DRUMS does what it does is easier said than done — after all, talking about music is like dancing about architecture, as someone once wisely said, but bespoke split-frequency routing combines specific effects for low and high frequency bands for unparalleled control over drum shaping and deformation. Indeed, if snare-shaping or colossal kicks are the order of the day then Put Me On DRUMS can truly turn up the heat with simple controls and a range of transformative presets — the latter designed by K-391 himself.
It is obvious, then, that K-391, the producer, plays a pivotal role in making Put Me On DRUMS what it is, which, itself, is hardly surprising since — through sweeping soundscapes and genre-bending compositions — his musical universe is the soundtrack to engaging narratives. Needless to say, K-391 is a force to be reckoned with, as borne out by more than a million followers online and recently surpassing 300 million audio and video streams. Says the producer: “My goal has always been to make better music, and, hopefully, let people feel that. That’s why we developed this plug-in, which instantly makes your drum sound better — spice up, enhance, or tune your drums for the perfect fit to your track, but, of course, you can also put it on guitars, vocals, or bass. It doesn’t matter as long as it sounds good, right?”
Regardless of whichever way anyone chooses to work with Put Me On DRUMS, the way it splits the audio into its HIGH and LOW frequency modules for independent processing is central to this musical match made in heaven’s way of working, allowing anyone to adjust the FREQ (frequency) crossover from 20Hz to 20kHz to find the perfect midpoint for their desired drum processing, with different effects applied to each of the frequency bands.
Consequently, controls for the LOW frequency band include BELLY, PUNCH, SUB TAIL, LENGTH, and LOW EQ adjustments. As such, it is possible to saturate the low end with the BELLY and control the transient level sent into the saturator itself with PUNCH; drum characteristics can be tweaked with tails extended with the SUB TAIL button and LENGTH dial, making 808s shine with upper harmonics or kicks ring out for longer; and focus the processing on a particular band or notch out problematic frequencies with the LOW EQ controls.
Controls for the HIGH frequency band include FREQ SHIFTER, DIMENSION, WIDTH, and HIGH EQ adjustments. As such, Put Me On DRUMS makes it easy to share the upper frequencies of hi-hats and snares, using a clever combination of formant-shifting additional voices. Simply select the target frequency with the FREQ SHIFTER dial, then control the over-formant feel with the SHIFT knob; this makes it easy to turn high percussion to fit with the key of the track being worked on, or just push the harmonic content a little more for shimmer and sparkle. Spread the dimension effect around the stereo filled with the WIDTH control and focus top-end processing on a particular band with the HIGH EQ controls.
It is easy to compare Put Me On DRUMS’ presets, or user tweaks thereof, by copying and pasting between two profiles — A and B — and selecting each with a single click to analyze adjustment changes, fine-tuning each until arriving at the perfect settings for the task. No need to worry about making mistakes, though, since UNDO and REDO functions are always available — as is a RANDOMIZER for fresh and unexpected takes on drum processing.
Put it this way: with independent GAIN controls for INPUT and OUTPUT, plus a master MIX ratio dial for parallel processing, Put Me On DRUMS is equally at home facilitating small surgical changes as it is delivering dynamic destruction. And as if all that was not enough to be getting on with, the ground-shaking drum processor plug-in’s master LIMITER feature smooths out the dynamics of the outgoing audio, while the OUTPUT level slider allows users to set a level for accurate A/B-ing with the pop-free POWER control. Clearly, the live frequency display at the top of the no-nonsense GUI (Graphical User Interface) shows exactly what is happening to the signal as it is being processed in real-time — simply drag the frequency crossover to shift the perspective between the HIGH and LOW frequency modules, making for accurate visual monitoring for what is happening each time a parameter change is made. It is, indeed, an incredible plug-in… just ask K-391!
Put Me On DRUMS is available to purchase for a time-limited introductory promo price of only $20.00 USD — rising thereafter to its regular price of $39.90 USD — as a 64-bit AU-, VST-, and VST3-compatible plug-in for macOS (10.15 or later) and 32- or 64-bit VST-, and VST3-compatible plug-in for Windows (8 or later), as well as an AAX-compatible plug-in for Pro Tools (11 or higher), directly from W.A. Production via its dedicated webpage, which also includes some superb audio previews, here: https://www.waproduction.com/plugins/view/put-me-on-drums
14-day, fully-functional trial versions of all W.A. Production plug-ins — including Put Me On DRUMS — are available by signing up for an account for free here: https://www.waproduction.com/users/login
Watch W.A. Production’s informative introductory video for Put Me On DRUMS — including an introduction by K-391 himself — here:
About W.A. Production (www.waproduction.com)
W.A. Production was created by producer/DJ and sound designer Redhead Roman in 2014. Helpfully, his deep-rooted passion for EDM (Electronic Dance Music) and time spent in the music industry ignited a desire to put top-tier audio products into the hands of every electronic music producer at prices that they could actually afford. By building its initial reputation on delivering high-end professional-sounding samples, the six-strong team of today has hurriedly matured into boasting a successful brand that offers instrument and effect plug-ins, DAW (Digital Audio Workstation) templates, informative articles, and exclusive interviews with some of the hottest EDM artists around, alongside e-books and tutorials, as well as online video courses. It is also recognized for practicing a ‘hands-on’ style of customer support and service, ensuring that every customer’s experience is a great one. On the face of it, then, that Roman and his talented team remain extremely humble and interactive with their customers, members, and the EDM scene as a whole to this day is an amazing attribute in itself since W.A. Production has experienced substantial growth — growth that is constantly being expanded still further by testing boundaries, pushing creativity and innovation to new heights. Indeed, it is all driven daily by asking themselves the same question: “What about making your sound better?”
© 2022 W.A. Production
MADRID, SPAIN: perfectly encapsulating its philosophy of making classic, legendary sound possible for today’s studios, Heritage Audio is proud to announce the availability of the TUBESESSOR — the European pro audio manufacturer’s take on an optical tube compressor specializing in recording delicate, critical signals where it is essential to retain all the individual character and emotion while offering natural, transparent control; time and money need no longer be wasted searching for an overly priced unit in a questionable state of operation since it is now possible to obtain that famous sound, and much more, with a brand-new piece providing problem-free, heavy-duty use for future-proofing many years of music-making history as a new design that vastly increases headroom and improves clarity while also allowing access to a whole new range of sound and textures — as of November 15…
It is fair to say that optical tube compressors have always been the choice of seasoned engineers and producers when it comes to recording critical, delicate signals such as voice and bass where it is essential to retain all the individual character and emotion while offering natural, transparent dynamic control. Clearly, a classic optical tube compressor is still a prized possession after all these years, but searching for original units that are overly priced and almost always in a questionable state of operation need no longer be the only option available to those chasing that sought-after sound since there is now a viable alternative; the TUBESESSOR truly represents Heritage Audio’s 21st-century take on that classic design.
As a unique design manufactured in the EU with only top-of-the-line components and custom transformers at the input and output stages, as well as NOS tubes operating at an extremely high internal voltage to ensure clarity, depth, and headroom previously unheard of, not only is the TUBESESSOR perfectly suited to warming up and even subtly enhancing a signal while maintaining total dynamic control, it also has a few tricks tucked neatly into its 3U rackmount chassis.
Cue TUBESESSOR’s all-new TUBE SATURATION section, with settings ranging from CLASSIC (no saturation at all) through to HOT (angry-sounding tone), with self-explanatory MILD and MEDIUM switchable in-between. Indeed, this section takes full advantage
of a creamy-sounding NOS Raytheon double triode tube to add a pinch of aggression or fully transform the signal into something ready for war! Importantly, it works in tandem with the custom output transformer to produce the right harmonic content.
Thankfully, Heritage Audio has also opted to include its innovative and notable SC FILTER section to widen the scope of control still further, with five internal side-chain settings available. The first two settings (80 and 160) ensure that the compressor is not being unduly overpowered by lower frequencies while the next three (1K, 3K, and 5K) are frequency-specific and selectable for extra creativity.
Continuously adjustable ATTACK and RELEASE controls are available when the ATTACK/RELEASE SELECT mode is set to MANUAL or in combination with FIXED settings when set to FIX/MANUAL, making it possible for users to musically mold their signal to suit.
Speaking of which, a large and attractive VU (Volume Unit) meter makes light work of monitoring either IN (input), GR (gain reduction), and OUT (output) to ensure that users are always informed with a clear reading of exactly what is happening. Working well with the TUBESESSOR’s large, inviting controls, it is always a sheer pleasure to use.
However, there are also other notable front panel-positioned features well worth mentioning, including GAIN (up to +30 dB of makeup gain); RATIO (continuously variable from 2:1 to 10:1); LINK (stereo operation); and BYPASS (true bypass of the circuitry) — not forgetting, of course, the vintage-looking red jewel light (simply indicates that the unit is switched on).
On the face of it, then, the TUBESESSOR provides everything anyone could conceivably ask of an optical tube compressor to achieve a top-tier professional recording — right down to its rear panel even allowing for convenient user replacement of the NOS Raytheon CK5755 (double triode) and audiophile-grade Psvane 12BH7A (double triode) tubes without needing to open the unit! Ultimately, it is clearly much more flexible than any alternative out there — the one to turn to for the sweetest, warmest, and most natural-sounding dynamic control possible, but with an ability to spice things up on occasion.
Of course, Heritage Audio has sourced NOS tubes to last a lifetime so those taking the TUBESESSOR plunge — purchasing this truly 21st-century take on a long-time favorite — are assured that their investment is safe and sound, set to provide problem-free, heavy-duty use for future-proofing many years of music-making history.
The TUBESESSOR is shipping and available via Heritage Audio’s growing global network of dealers (https://heritageaudio.net/where-to-buy-international/) with an SSP (Standalone Selling Price) of €2,999.00 EUR (including VAT) in the EU, respectively and a MAP (Minimum Advertised Price) of $2,499.00 USD, US distribution being handled via RAD Distribution (http://www.raddist.com/heritage-audio.php).
For more in-depth information, please visit the TUBESESSOR’s dedicated webpage here:
https://heritageaudio.com/tubesessor/
See and hear the TUBESESSOR in action in Heritage Audio’s alluring promo video here:
About Heritage Audio (www.heritageaudio.net)
Heritage Audio was founded in 2011 by Peter Rodriguez. As a civil engineer and music producer, he went from building wind turbines to following his true passion — developing recording equipment with the vintage sound that he himself admired so much and so many others yearned for. Fortunately for all, he was able to master the key elements necessary to make high-quality recording gear affordable and reliable by combining his analytical mindset with his experience as a producer within a relatively short space of time. Today, the 15-person team has expanded its production plant located in the heart of Madrid, Spain, where it collectively continues to follow a philosophy of making vintage sound possible for today’s studios, successfully introducing innovative products to rank amongst the most popular brands with top retailers throughout the world.
© 2022 Heritage Audio