KINGSWINFORD, UK: introduced to an astounded audience at the Sheffield-hosted SynthFest UK 2019 premier synthesizer event in its original white-colored panel scheme, British boutique electronic instruments innovator Analogue Solutions is proud to announce the availability of its Limited Edition BLACK Colossus supersized synth — symbolizing so much more than a powerful analog ‘workstation’ with no fewer than 12 VCOs (Voltage-Controlled Oscillators) beating at its monumental musical heart, rather representing art, architecture, and superlative studio furniture at its hand-built best, but back this time as a limited-edition run of 20 units with a black-colored panel scheme in complete contrast to the still-available Colossus — as of November 8…
Despite design cues harking back to the dawn of analog synthesizers with a knowing nod of appreciation to one of the largest and — at almost £100K in today’s money! — most expensive examples ever built anywhere, let alone by British trailblazing entity EMS, encompassing no fewer than 12 VCOs and eight VCFs (Voltage-Controlled Filters) and much more besides in the colossal classic that is the Seventies-vintage Synthi 100, with the 30 or so units produced in its decade-long lifespan mainly ending up in university research departments or national broadcaster’s in-house composition studios (such as The BBC Radiophonic Workshop) before becoming lost in the sands of time to almost all but serious synth collectors and restorers (including, ironically, Analogue Solutions founder Tom Carpenter himself), British boutique electronic instruments innovator Analogue Solutions’ suitably-named Limited Edition BLACK Colossus — courtesy of its imposing 1700mm (W), 700mm (D), and 650mm (H) dimensions, while weighing in at… too big to fit on the scales! — symbolizes so much more than a powerful analogue ‘workstation’ with no fewer than 12 VCOs beating at its monumental musical heart, rather representing art, architecture, and superlative studio furniture at its hand-built best… just like its identically-spec’d white-colored panel scheme-based sibling.
Synthi circuits were neither cloned nor copied in making the Limited Edition BLACK Colossus fit for a new generation of high-flying owners while fortunately fitting through a standard-sized doorway — unlike a Synthi 100, of course; the Limited Edition BLACK Colossus’ creator prefers to come up with designs of its own musical making. Moreover, Analogue Solutions has chosen to make use of original circuits tried and tested in favourites from its acclaimed analogue synthesiser products, past and present, including Polymath (https://www.analoguesolutions.com/polymath-paraphonic-modular-synth) — a self-contained four-VCO PARAPHONIC ANALOGUE SYNTHESISER with ANALOGUE SEQUENCER and SPRING REVERB; Telemark (https://www.analoguesolutions.com/telemark-patchable-rack-synth) — a semi-modular analogue monosynth, much loved by bona fide synth-pop pioneer Philip Oakey of Sheffield-based The Human League, a colossus connoisseur of synthesisers in his own right, thanks to owning one of the largest collections in the UK; and, more recently, Vostok2020 (https://www.analoguesolutions.com/vostok2020) — the latest (fourth) incarnation of Tom Carpenter’s semi-modular masterpiece taking some of the best parts of its iconic Vostok V2 and V3 Deluxe predecessors and bringing them together as an augmented ANALOGUE POWER SYNTH fit for a new decade. All are united by their ALL ANALOGUE VOICE & MODULATION CIRCUITS — as boldly blazoned across the former’s front panel. Analog as in really analog. After all, as implied by its apt appellation, Analogue Solutions truly trades on real transistors and op-amps — no CPU (Central Processing Unit) stabilized and quantized circuits, no DCOs (Digitally-Controlled Oscillators), and no digital EGs (Envelope Generators), as are often found on other so-called analog synthesizers. Since such circuitry is based on designs dating back to the Seventies, all Analogue Solutions synthesizers proudly possess a truly vintage sound — as does, of course, Colossus and also the Limited Edition BLACK Colossus… albeit taking things to a whole new level, literally so as an analog heavyweight to be reckoned with.
With 12 VCOs and eight VCFs to its own notable name, the Limited Edition BLACK Colossus musically matches the aforesaid extensive and expensive Synthi 100, yet comes complete with a whole lot more besides. Indeed, its oscillator panel is well specified in its own right. There, the FREQ (frequency) — pitch — range of OSCILLATOR 1 through to OSCILLATOR 12 is extremely wide, and each can also be used as an LFO (Low-Frequency Oscillator); each features four waveforms, plus pulse width, oscillator sync, and sub-oscillator abilities. All are complemented by a SAMPLE AND HOLD generator, RANDOM VOLTAGE GENERATOR, and two pink/white noise generators — namely, NOISE GENERATOR 1 and NOISE GENERATOR 2.
The equally well-specified filter panel features four multi-mode (hi-, band-, and low-pass) 12dB filters — FILTER 1 through to FILTER 4, the circuit for which was originally based on the filter found in the classic dual-oscillator Oberheim SEM (Synthesizer Expander Module®) created by legendary American synth designer Tom Oberheim back in 1974, albeit Analogue Solutions skilfully applied some heavy-duty modifications of its own. On top of that, there are also four low-pass 24dB transistor ladder filters — FILTER 5 through to FILTER 8 — featuring a ‘Moog’ style sound. Saying that all eight VCFs have serial VCAs (Voltage-Controlled Amplifiers), so there are actually eight VCF/VCA combinations in total! That’s not all as this panel also houses two mechanical spring reverbs — REVERBERATIONS 1 and REVERBERATIONS 2, each featuring a triple spring tank; two RING MODULATORS; two voltage SLEW LIMITERS; and four envelopes — ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4 — with ATTACK, DECAY, SUSTAIN, and RELEASE controls, alongside hold repeat and gated repeat trig (trigger) MODE functions.
Furthermore, the so-called ‘scope’ panel — so named as it includes an oscilloscope — pushes things to an even higher level, specification-wise, since it includes four VCAs — VCA 1 through to VCA 4 — in addition to those found in the filter panel, plus two LFOs — LFO 1 and LFO 2 — in addition to those found in the oscillator panel, as well as four A S D/R envelopes — ENVELOPE SHAPER 1 through to ENVELOPE SHAPER 4. So since the aforesaid VCOs can be used as LFOs, the Limited Edition BLACK Colossus can, in fact, be potentially pressed into playing a total of 14 LFOs! Likewise, since each of the eight VCFs has VCAs hardwired inline, these plus the individual VCAs mean that there is actually a total of 12 VCAs available to any adventurous user!
Ultimately, the Limited Edition BLACK Colossus comes complete with yet more populated panels for setting the controls for the heart of the synth, as it were, with a ‘digital intervention’ of sorts showing through the touch panel housing two touch keyboards with digital note sequencers — TOUCH KEYBOARD CONTROL / SEQUENCERS, although analog control readily resumes with the two JOYSTICK CONTROLLERS above and six-channel STEREO AUDIO MIXER above them. The sequencer panel is dominated by a SERIAL 1-64 SPLIT 2x 1-32 step SEQUENCER with CLOCK generator, GLIDE, JUMP, RESET, CV OUT, GATE OUT, and other control features. Four large 10V backlit SIGNAL METERS — CHANNEL 1 through to CHANNEL 4 — up the analog ante alongside the SEQUENCER. Then there are two broadcast-quality CV and audio pin matrix panels — inspired in no small part by the British-built EMS VCS3, which made musical history upon its introduction in 1969 by being the first commercially portable synthesizer available anywhere in the world, thanks to its innovative modular matrix-based patchboard dispensing with the telephone exchange-like cabling of other (much larger) modular systems in favor of making space-saving connections with (removable) pins — and last, but by no means least, there are also four minijack patch panels providing I/O from all the Limited Edition BLACK Colossus’ circuits.
Concludes Analogue Solutions founder Tom Carpenter: “I’m not really sure that there is much more to say about it other than some people just love black synths!” So clearly the Colossus concept has gone from strength to strength since Analogue Solutions’ announcing availability of the Limited Edition BLACK Colossus surely says it all.
The Limited Edition BLACK Colossus is being produced as a run of 20 units with a black-colored panel scheme and available to order for purchase, priced at £27,000.00 GBP (excluding tax and delivery) directly from Analogue Solutions — here: https://www.colossus-synth.com/buy — with shipment direct to the customer’s door; wait time is around three to four weeks after receipt of a £7,000.00 GBP deposit (excluding tax and delivery) payable to Analogue Solutions — here: https://www.analoguesolutions.com/colossus-1 — with balance and shipping costs required shortly before despatch. (Please note that if shipping is required then the crate and packing is £290.00 GBP, with delivery by truck to most European countries estimated to be in the range of £300.00 GBP to £500.00 GBP and air freight to the USA estimated to be in the range of £1,700.00 GBP to £2,500.00 GBP.)
For more in-depth information, please visit the dedicated Colossus webpage here: https://www.colossus-synth.com/colossus
Watch Analogue Solutions’ short but sweet-sounding trailer video for the Limited Edition BLACK Colossus here:
About Analogue Solutions (www.analoguesolutions.com)
Analogue Solutions is a UK-based boutique electronic instruments innovator that specializes in true analog synthesizers, sequencers, and Eurorack modules. More than 25 years of experience in the industry means that it was right there at the start of the Eurorack revolution — the third company to start producing modules, in fact. Furthermore, Analogue Solutions products are all hand-built in England — many being tested by founder Tom Carpenter himself, who has hands-on involvement in all aspects of the company. Characterful to boot, Analogue Solutions’ innovative instruments are applauded for proudly possessing a truly vintage sound — synthesizers featuring fully-analog audio paths with analog LFOs (Low-Frequency Oscillators) and EGs (Envelope Generators) are the order of the day here. Having no memories means that nothing is being made to sound sterile by CPU (Central Processing Unit) control; conversely, turning a knob directly changes the voltage or current in an actual synth circuit to audible affect. As implied by the name, Analogue Solutions consistently constitutes proof of Tom Carpenter’s genuine passion for analog synths, drawing upon his years of owning and using vintage analog synths and drum machines that he still uses in his own music productions… alongside Analogue Solutions products, predictably. Put it this way: with its present-day music electronics for electronic musicians mantra ringing true as always, Analogue Solutions has certainly come a long way with its boutique electronic instrument innovations!
© 2021 Analogue Solutions (UK) Ltd
The officially certified collection from the legendary FAME Studios of Muscle Shoals, Alabama, modeling the acclaimed live rooms, iso booths, and more
November 4, 2021 – IK Multimedia announces FAME Studio Reverb for T-RackS, capturing the sound and vibe of FAME Studios and offering innovative controls for achieving the Muscle Shoals sound in any studio.
Among recording artists, it’s called the “hit recording capital of the world.” For over 60 years, FAME Recording Studios in Muscle Shoals, Alabama, has produced an endless stream of iconic hits powered by a sound that simply can’t be found anywhere else in the world, until now.
An entire studio’s worth of spaces
T-RackS FAME Studio Reverb offers a total of 9 spaces, with 2 live rooms, 5 iso booths, an EMT plate reverb and FAME’s newly-restored echo chamber, plus Modern and Vintage modes for each, giving users a full suite of reverb effects in a single plug-in.
A newly-restored part of music history
In addition to the rooms and plate, IK is proud to have helped FAME’s Rodney Hall restore one of FAME’s original echo chambers. Long out of use, this newly restored chamber is equipped just as it was in the ’60s and sounds every bit as amazing now as it did then.
That exact sound, instrument by instrument
IK worked hand-in-hand with FAME to precisely capture not just the mic placement used on all their iconic albums, but where the performers were positioned as well. Users can select which instrument they’re processing and T-RackS FAME Studio Reverb instantly re-positions both the microphones and source in the room, right where the magic happened.
Iconic consoles for iconic spaces
Beyond using FAME’s extensive vintage mic locker, IK took care to capture each studio’s unique sonic signature.
Studio A boasts a Neve 8232 console, while Studio B, recently renovated and restored by Rodney and GRAMMY Award-winning producer Glenn Rosenstein, offers an SSL 6056 E formerly loved by Stevie Ray Vaughan and used on his most successful albums.
Or, for a more vintage sound, users can switch either studio to use FAME’s original Universal Audio 610 console, hand-built for FAME, to precisely capture the vibes of FAME’s earliest decades.
The deepest level of authenticity
To capture both the unique acoustics of each studio, IK used its unique Volumetric Response Modeling (VRM™), an advanced hybrid convolution technique, to deliver the highest-quality reverb effects possible.
T-RackS FAME Studio Reverb takes this to a whole new level, using proprietary new techniques to enhance the measurement process for a truly immersive experience. The new SPREAD control lets users broaden each room’s response to best fit the sound source.
Convenient tone shaping
T-RackS FAME Studio Reverb offers all the necessary controls to shape the spaces including reverb time, width and frequency controls, microphone controls (left, right, or both), and accurate leveling/monitoring of the mixed signals.
To offer even more realism, when using the two studio’s live rooms, FAME Studio Reverb offers two faders for mono room ambiance, which can be mixed into the stereo signal or used alone, just as if recording at FAME itself.
The power of T-RackS
Like all T-RackS plug-ins, T-RackS FAME Studio Reverb offers two ways to work: as a single plug-in, or within the T-RackS 5 shell.
Pricing and availability
T-RackS FAME Studio Reverb is coming this November and is available for pre-order from the IK Multimedia online store and from IK authorized dealers worldwide at a special limited-time introductory price of $/€129.99* (reg. $/€149.99).
*All pricing excluding taxes.
PRAGUE, CZECH REPUBLIC: independent development teams federation United Plugins is proud to announce the availability of UniChannel as the latest plug-in from founding partner SounDevice Digital — duly delivering a universal vintage-style channel strip for every purpose, offering over 27 combinations of preamps, EQs, and compressors, each with a unique character and all allowing the welcomed warmth of analog sound to truly shine through thanks to VARM II technology that results in the truest representation of hardware counterparts, connectable to every channel of a mix… unlike those hardware counterparts — as of November 3…
Inspiration in variety is what SounDevice Digital’s UniChannel, ultimately, is all about. After all, accessing a handsome hardware-based gear
collection while working in the studio is, indeed, inspirational and a nice thing to have, obviously; it is, unfortunately, also a time-consuming — not to mention expensive — route to take in today’s time-stressed reality. But Boris Carloff — the owner of the Prague-based SounDevice Studio after which the established brand that is central to United Plugins is notably named — knows this only too well, having been collecting vintage gear for over 20 years. Yet there is a method in his — some might say — musical madness. “There is always something not working — from tubes to scratchy pots and meters to noisy caps,” concedes the man himself, before adding: “And the units are so rare that you can hardly ever use them on multiple channels simultaneously. So, to avoid these limitations, we were inspired to create a solution that brings the best of these devices into one plug-in. The result is UniChannel.”
UniChannel duly delivers the welcomed warmth of analog sound, but — unlike its hardware counterparts — it can be connected to every channel of anyone’s mix. Moreover, users can also change the components with one onscreen click, rather than resorting to yesteryear’s super-slow ‘old school’ screwdriver and patch bay workflow. With the UniChannel plug-in, therefore, there is a preset for every occasion — with no aging and/or broken components to maintain and/or replace.
But better still, the UniChannel plug-in comes complete with no fewer than three types of preamp, three types of EQ, and three types of COMPRESSOR clearly on-screen, on tap at all times. Together, that makes for a total of over 27 unique ‘plug-ins’ readily residing within one. On the face of it, bypassing the EQ or the COMPRESSOR allows anyone to hear that the variety of sound on offer is almost infinite — inspiration in variety abounds, in other words.
With the VARM II technology — based on knowledge of chaotic behavior and randomness of the analog (real) world — that resides at the core of UniChannel, each plug-in instance acts slightly differently, due to that technology’s modeling of the subtle differences in the values of the electrical parts themselves — exactly as is the case with the real-world electrical parts constituting console channels. Consequently, this results in the truest representation of the hardware units concerned’s sounds.
Speaking of those sounds, the UniChannel plug-in’s preamp, EQ, and COMPRESSOR sections are all switchable between BR (British), US (United States), and GE (German) flavorings. For example, that classic British channel switching brings about a fat-sounding transformer coloring for aggressive bass, kick drum, and rock attitude; it includes a Seventies-style British fat-sounding transformer preamp, a Seventies-style EQ, and a Seventies-style diode bridge compressor. Conversely, the US Eighties-style op-amp preamp and Eighties-style EQ exhibit mid-sounding punch — perfect for electric guitar or toms, while the US early-Fifties-style tube compressor is a fat-sounding monster, making vocals sound silky smooth with wonderful color to boot. But the full-sounding German channel works wonders on the drum buss and sounds so magical when applied to the voice that SounDevice Studio engineers do not recommend using anything else for jazzy stylings or ballad intimacy; it features a Fifties-style tube preamp, Sixties-style rare EQ, and early-Fifties-style tube vari-mu compressor.
Clearly, it is also worth mentioning that the photorealistic nature of the UniChannel plug-in’s gorgeous GUI (Graphical User Interface) imbues its users with a feeling that they are touching 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, easier to use.
Ultimately, UniChannel provides maximum audio quality by using internal 64-bit audio processing as well as being able to handle any sampling rate — as, indeed, is the case with all plug-ins released under the United Plugins umbrella, so why not try it at 192 kHz… or even higher! Helpfully, the UniChannel plug-in 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 (Central Processing Unit) power at all, thereby saving computing resources for other processes.
Put it this way: with UniChannel, Boris Carloff and the talented team at SounDevice Digital have surely succeeded in their collective mission of making inspiration in variety a reality in one plug-in that duly delivers a universal vintage-style channel strip for every purpose, offering over 27 combinations of preamps, EQs, and compressors, each with a unique character and all allowing the welcomed warmth of analog sound to truly shine through.
SounDevice Digital’s UniChannel is available to purchase for a time-limited introductory promo price of only €33 EUR until the end of November 2021 — representing an attractive 78% discount, rising thereafter to its regular price of €149.00 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 United Plugins here: https://unitedplugins.com/UniChannel (A 15-day, fully-functional trial version for macOS 10.10 and newer and Windows 8/10 can be downloaded for free from here: https://unitedplugins.com/download)
Note that no iLok, dongle, or internet access is required for UniChannel 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 SounDevice Digital’s UniChannel — the universal vintage channel strip plug-in for every purpose — in action in United Plugins’ must-see (and hear) 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 utilise 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.
© 2021 United Plugins
Alberobello, ITALY: professional producer and seller of content for all guitar and bass digital devices ChopTones is proud to announce commencement of a four-day sale for Halloween — directly discounting its entire, ever-expanding catalogue, currently comprising around 2,600 digital products for over 30 different platforms, by 20% via its online web shop — as of October 29…
With around 2,600 digital products currently available for all guitar and bass digital devices on over 30 different platforms, including digital modellers or outboard IR (impulse response) loaders from the likes of Amplifire, Bias, Boss, Fractal, Headrush, Hotone, Kemper — with more than 200 amps available (as the largest collection available worldwide), Line6, MOOER, and Zoom, as well as its own appropriately-named IR Loader plug-in for Mac and Windows — available for free (from here: https://landing.choptones.com/free-ir-loader), literally letting users load impulse responses into their respective Load IR locations helpfully highlighted on its superficially-simple GUI (Graphical User Interface), together with 400 Cabinet IR packs that are also available (as the largest collection available worldwide) — all created with top-class studio equipment and captured with Choptones’ Systematic Capture Technology, there has never been a better time that now for anyone to treat themselves, thanks to ChopTones’ helpful Halloween sale’s four-day discount of 20% off anything on its online web shop (https://www.choptones.com/collections/all). As Choptones itself semi-seriously states: “No, it’s not a trick. It’s a treat for you!”
But best not hang about, though, since said sale ends on November 1, 2021, so go grab yourself whatever you need for whatever you’ve got while saving yourself a substantial something into the bargain!
Legal Disclaimer: all used company names, label names, and registered trademarks thereof are the property of their owners and only used for identification and description of products and achievements; ChopTones’ products simply seek to recreate the sound of the amplifiers, cabinets, and speakers listed and any use of brand names is strictly for comparison and descriptive purposes.
About ChopTones (www.choptones.com)
Since 2014 ChopTones has been involved in the professional production and sale of content for all guitar and bass digital devices. Indeed, its catalogue comprising around 2,600 digital products for over 30 different platforms. As an acclaimed company, ChopTones operates on all major social media channels to promote its catalogue, concentrating on a huge video section to not only demonstrate tones but also guitar and bass guitar gear in general.
© 2021 ChopTones SRL
ECHT, THE NETHERLANDS: virtual instrument and effect plug-in developer Rob Papen Inspiration Soundware is proud to announce availability of eXplorer-7 — effectively released as the seventh incarnation of its inspirational, all-encompassing bundle, bringing the simultaneously-released RoCoder (musical muscular vocoder virtual effect) and Predator-3 (popular virtual instrument successor) plug-ins to the musical mix, as well as adding the already-released DelSane (stereo delay virtual effect with disruptive split-personality-styled behaviour) to the collective creative fray — as of October 25…
eXplorer-7 encompasses all 27 of the virtual instrument and effect plug-in developer’s desirable offerings to date… if including its free PRISMA plug-in —allowing any Rob Papen product owner to stack (up to four) of their virtual instruments as a single so-called ‘prismatic’ sound source — that owners of eXplorer-7 can request after registering their bundle. Indeed, it represents remarkable value!
Virtual effect plug-ins new to eXplorer-7 well worth mentioning include the simultaneously-released RoCoder, whose well-chosen, Rob Papen-partially-rooted name steers close to the vocoder concept, so surely stepping, briefly, back in time is inevitably of historical help here? Let learning begin: vocoder — a portmanteau of voice and encoder — is a category of voice codec that analyses and synthesizes the human voice signal, invented in 1938 as a means of synthesizing human speech by Bell Labs’ Homer Dudley, whose work was developed into the channel vocoder for telecommunication transmission purposes, permitting speech transmission with very low bandwidth that results in somewhat distorted yet intelligible speech. Subsequently applied to musical signals, the results sound more or less like robotic speech or singing — think Teutonic techno-pop trailblazers Kraftwerk’s 1978 classic cut ‘The Robots’ (from The Man Machine album) and ‘Autobahn’ (a surprise international hit as a radio edit of the title track from the 1974 album). As always with Rob Papen products, however, here there are many new and creative features, so don’t go expecting a regular vocoder with RoCoder! Alongside a 32-band vocoder, it includes an additional Additive MODE, a combined Vocoder + Additive MODE, Noise MODE, Tuned Noise MODE, and a Tuned Comb MODE — no ‘Depeche Mode,’ but, then again, you can’t always have everything, sadly! Seriously, these new modes allow anyone to create many new types of sound in addition to the sound of the top-tier Vocoder MODE. Moreover, RoCoder far from stops there since it also includes stereo panning per band, Rob Papen’s critically-acclaimed XY pad, and an extensive MOD (modulation) matrix — all topped off with top-tier inbuilt FX, including CHORUS, FLANGER, PHASER, stereo DELAY, and REVERB… RoCoder really rocks as a musically muscular new type of effect plug-in that truly opens up a whole new range of sounds to owners of eXplorer-7 (or otherwise)!
To take a brief break from the wonderful world of effect plug-ins in favour of (re)entering the virtual instrument realm that is clearly close to the collective heart of Rob Papen and its namesake founder for whom they will forever be associated, also new to eXplorer-7 is the also simultaneously-released Predator-3, the successor to one of the most popular virtual instruments with which Rob Papen first made its notable name around a decade or so ago — a long time, indeed, in the wonderful world of virtual instruments with the original Predator and 2016-released Predator-2 having inspired an array of artists and composers across many musical genres over the years between them to make their particular presence heard on countless tracks! That being said, Predator-3 is so much more than an incremental update, despite following in the fanciful footsteps of its elder virtual instrument siblings by combining a large library of over 6,500 professionally-programmed presets — many by Rob Papen himself — with cutting-edge features to make it the definitive ‘go-to’ virtual instrument for any kind of contemporary music production. Pushing onwards and upwards beyond its predecessors, Predator-3’s UI (User Interface) has been redesigned so that all of the essential main controls are always visible on screen, making it interactive and incredibly easy to use. Ultimately, Rob Papen has integrated many new features into its ARP (arpeggiator), added multi-stage — ATTACK, DECAY, SUSTAIN, FADE, and RELEASE — envelopes for FILTER 2 (alongside those previously available for the original FILTER — now FILTER 1 — and AMP), added an ‘audio follower’ input for side chain control, and, last but not least, integrated the analogue-modelled sound code from the virtual instrument and effect plug-in developer’s 2019-released B.I.T. (Back In Time) — an apt acronym if ever there was one… one which really reflects namesake company founder and acclaimed sound designer Rob Papen’s passion for subtractive synthesis, a passion that remains as strong as when he first started working with synthesizers way back when purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer at the tender age of 15 — to allow non-compromised audio quality for analogue types of sound or hybrid wavetable sounds alike! As a unique concept that creatively combines user friendliness and deep sound design features in one amazing product, Predator-3 picks up where its predecessor left off and runs with it — going in for the virtual instrument kill!
Representing remarkable value when factoring in the cost of individually purchasing all 27 of the virtual instrument and effect plug-in developer’s desirable offerings to date, eXplorer-7 also benefits from the inclusion of DelSane — deviating, as it does, down an appropriately-appellative virtual effect plug-in pathway as a stereo delay with ‘Dr. Jekyll and Mr. Hyde’ behaviour by swinging between an easy-to-use, lovely-sounding ‘sane’ stereo tape delay and dynamically-changing disruptive ‘insane’ delay types that was released to widespread critical acclaim — and subsequently updated to include VST3 compatibility and a side chain input option alongside other new features — a little earlier this year. Yet to buy into the Rob Papen Inspiration Soundware ethos? Entering the now-widened wonderful world of virtual instrument and effect plug-ins packed into the all-encompassing eXplorer-7 bundle is bound to inspire!
If including PRISMA (available for free after registering), eXplorer 7 is available — as an all-encompassing inspirational bundle of 27 64-bit AAX-, AU-, VST- and VST3-compatible virtual instrument and effect plug-ins for Mac (OS X 10.12 – macOS 11) 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 MAP (Minimum Advertised 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-7.html (Owners of earlier eXplorer editions can upgrade to eXplorer 7 for €99.00 EUR/$99.00 USD, while other options for upgrading to eXplorer 7 are also available to owners of other Rob Papen products.)
RoCoder is available — as a 64-bit AAX-, AU-, VST- and VST3-compatible virtual effect plug-in for Mac (OS X 10.12 – macOS 11) 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 MAP of €49.00 EUR/$49.00 USD from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen itself for the same pricing via its dedicated webpage, which also features more in-depth information here: https://www.robpapen.com/RoCoder.html (RoCoder is included in the all-encompassing eXplorer 7 inspirational bundle.)
Watch Rob Papen’s inspirational introductory RoCoder video — featuring a voice-over from Rob Papen himself — here:
Predator-3 is available — as a 64-bit AAX-, AU-,VST-, and VST3-compatible virtual instrument plug-in for Mac (OS X 10.12 – macOS 11) 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 MAP of €149.00 EUR/$149.00 USD from authorized Rob Papen dealers worldwide or as a download directly from Rob Papen itself for the same pricing via its dedicated webpage, which also features more in-depth information (including links to tutorial videos — ), here: https://www.robpapen.com/Predator-3.html (Owners of the original Predator or Predator-2 plug-ins can upgrade to Predator-3 for €49.00 EUR/$49.00 USD, while Predator-3 itself is also included in the all-encompassing eXplorer 7 inspirational bundle.)
Watch Rob Papen’s inspirational introductory Predator-3 video — also featuring a voice-over from Rob Papen himself — here:
DelSane is available — as a 64-bit AAX-, AU-, VST- and VST3-compatible virtual effect plug-in for Mac (OS X 10.12 – macOS 11) 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 MAP of €35.00 EUR/$35.00 USD from authorized Rob Papen dealers worldwide or as a download directly from Rob Papen itself for the same pricing via its dedicated webpage, which also features more in-depth information, here: https://www.robpapen.com/DelSane.html (DelSane is also included in the eXplorer 7 bundle.)
Watch Rob Papen’s inspirational introductory DelSane video — also featuring a voice-over from Rob Papen himself — here:
Watch Rob Papen’s new features-disclosing DelSane updates video — again, 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!
© 2021 Rob Papen Inspiration Software
LONDON, UK: Spitfire Audio is proud to announce the availability of TRINZ – COLOURS PST — presented in the sound-specializing British music technology company’s award-winning, accessible, and affordable plug-in as the first sample library of its kind to really lend itself to multiple genres as a self-contained toolkit for contemporary composers looking to add a whole spectrum of fresh new sounds and textures to TV, film, or game scores thanks to its bespoke range of inbuilt sound-sculpting controls and effects despite its roots being firmly planted in the UK drill scene, successfully curated by distinctive-sounding drill producer Trinz for beat-makers and producers creating drill, grime, or hip-hop tracks — as the first release in its new QMF (Quality Music Freak) creative division, as of October 22…
TRINZ – COLOURS PST represents Spitfire Audio’s first release in collaboration with QMF, its newly-created creative division
destined to bring a contemporary perspective to sample libraries. Acting as curators of emerging culture, this venture combines Spitfire Audio’s years of experience in creating world-class production and composing tools with the innovative vision of a network of creatives, beat-makers, artists, and producers creating fresh sounds within a wide range of genres.
Getting there has taken time, though. The type beats phenomenon has offered producers a path from their bedrooms to working with some of the world’s biggest artists, a route that has proved to be highly successful for 18-year-old South-East Londoner Trinz, whose journey has taken him from making beats on Apple’s GarageBand — a DAW (Digital Audio Workstation) developed by Apple for macOS, iPadOS, and iOS devices — and uploading them to SoundCloud, YouTube, and BeatStars, to then producing tracks and supplying beats for some of the biggest artists in the UK drill scene, such as Digga D on his 2021 hit single ‘Toxic’, Plutonio, and British-Somalian rapper Alz. “When I was about 12 or 13, my parents bought me a MacBook for my birthday… the moment I discovered GarageBand, that’s the moment I became a producer,” he says, continuing: “Drill music means a lot to me because I’ve grown up with it, and it’s kind of grown up with me, too; it’s changed so much.”
Indeed it has. His distinctive sound, leaning more to the melodic side of drill, looks to be having an influence on the future of the scene, too, with other producers starting to emulate the style of Trinz. “The placements that I get, some producers might make a type beat of that song,” he explains. “I listen to it and it’s using the same instruments that I use — same sort of vibe.”
‘Virtual Trinzes’ apart, who better, then, to introduce TRINZ – COLOURS PST than the emulated producer himself? “The name COLOURS PST is inspired by my sound palette… I try to create a whole spectrum of colors in my music — personal to me, but open to any genre,” he begins, before adding: “People listen to music for the lyrics, but, personally, I Iisten to it for the message from the producer.”
Put it this way: with a wide range of tempo-mapped performance-based loops created from combinations of guitars, keys, synths, saxophone, and more — all split into stems across a color-mapped keyboard, TRINZ – COLOURS PST users can quickly and creatively explore drum loops and kits, deep sub-basses, old-school wave-y synth pads, melodic instruments, and textures — all of which can be manipulated and warped within the plug-in itself to create immersive atmospheres, allowing them to put their own personal spin on the sounds to facilitate their own musical vision, whatever that may be.
Beating at the musical heart of the self-contained toolkit that is TRINZ – COLOURS PST are 48 presets and a wide range of controls and effects — namely, expression, processed signal, attack, REVERB, RELEASE, DISTORTION, CHORUS, FLANGER, PHASER, and portamento — engineered to offer a wide range of detailed sound-sculpting possibilities within a single patch, producing originality with ease. Effectively users can write from scratch and finish a track — taking in lo-fi characterful sounds through to high-octane atmosphere — using the TRINZ – COLOURS PST plug-in alone, all depending on how it is used. Ultimately, the plug-in itself is designed to inspire — whether it represents someone’s first entry into drill music, whether they are an established producer, or whether they are a media composer looking to expand their sound palette. Creative composers will appreciate a versatility that lends itself to building tension beds, adding momentum, emotion, and atmosphere.
As such, TRINZ – COLOURS PST’s multi-instrumental Loops section creatively captures the character and soul of each performance to spark ideas or set the mood, while putting just enough controls at any user’s fingertips to make them their own. Having helpfully been notated by Trinz, the full performance of each of the 20 Loops therein is presented on the lowest octave, and each of the stems have been individually split and color-mapped by octave across the rest of the keyboard, so users can quickly layer them up as desired and sequence a beat. Better still, each loop can be tempo-sync’d to the host DAW, despite being recorded at 140bpm by default.
Duly offering 20 sounds — spanning warm, deep floor-shaking subs to classic analog (Korg MS-20 and Roland Juno 106) synths and (Rhodes) electric pianos, then onwards and upwards into bell-like kalimba and percussive textures to offer a different perspective of sounds, textures, and effects that can be compared to the hard-hitting sounds of drill, the Keys section lays out each sampled note across the entire keyboard.
Thereafter, the eight-sound-strong Drums section features four innovative, intricate drum loops created by Trinz, as well as four complete drum kits, all of which can be manipulated and tweaked to the user’s liking. It is the processed signal slider that really shows the full range of each of those performances and sounds, starting with the dry sound and fading in various preprogrammed effects unique to each individual preset — each and every one of them specially curated by Trinz and QMF engineer Love Shodipe.
So, whether wishing to become the next ‘Virtual Trinz’ or otherwise, TRINZ – COLOURS PST has what it takes to expand any user’s sound palette. Producers and media composers alike will surely appreciate its versatility as the first sample library of its kind to really lend itself to multiple genres as a self-contained toolkit.
TRINZ – COLOURS PST is available as an AAX-, AU-, VST2-, and VST3-compatible plug-in supporting Native Instruments’ NKS (NATIVE KONTROL STANDARD®) for Mac (OS X 10.10 or later) and Windows (7, 8, and 10 — latest Service Pack) that loads directly into any compatible DAW (Digital Audio Workstation) for an RRP (Recommended Retail Price) of only £29.00 GBP (inc. VAT)/$29.00 USD/€29.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/trinz-colours-pst
Spitfire Audio’s namesake Spitfire Audio application allows anyone to buy now and download anytime and is available for free from here: http://www.spitfireaudio.com/info/library-manager/
Watch Spitfire Audio’s premiere of TRINZ – COLOURS PST — including its intriguing trailer video featuring an introductory voice-over from drill producer Trinz and an informative walkthrough with QMF engineer Love Shodipe — here:
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.
© 2021 Spitfire Audio Holdings Limited
October 21, 2021 – IK Multimedia releases iRig Stream Solo and iRig Stream Pro. The original iRig Stream offered groundbreaking features for today’s top apps that made it a must-have for millions of creators. Now iRig Stream Solo brings comparable features and connectivity to a new level of affordability, while iRig Stream Pro takes it all to the next level with enhanced connectivity and audio quality for world-class podcasting and streaming.
iRig Stream Solo is an easy-to-use, all-analog audio interface for iPhone*, iPad, and Android that lets users connect up to three separate sources and mix them for streaming. Connect DJ decks, mixers, or keyboards via RCA inputs. Use headsets or iRig mics for voiceovers via the 3.5mm headphone/microphone jack. And even the audio from the host device can be looped back and mixed together into a signal that’s optimized for streaming and sent to the user’s choice of streaming apps.
Start connecting with the world
iRig Stream Solo is easy to use with a captive TRRS cable to connect to any iPhone*, iPad, and Android device. Its 1/8″ mono Thru line output lets users send audio to additional devices such as cameras, mixers, and more. And with two AA batteries, streamers will enjoy hours of reliable performance anywhere.
* May require the use of Apple’s Lightning to 3.5 mm Headphone Jack Adapter (TRRS).
iRig Stream Pro combines a 24-bit, 96 kHz audio interface for iPhone, iPad, Android, and Mac/PC with a comprehensive 4-input in-line mixer. An XLR/¼” combo input, stereo RCA, TRRS and device inputs (Loopback) offer serious I/O, all sub-mixed into a pristine audio interface with even more comprehensive features.
Stereo or multichannel? You get both!
iRig Stream Pro offers 2 modes. By default, it operates in stereo mode and pre-mixes multiple sources of audio (RCA stereo inputs + Loopback, XLR/¼” combo input, and TRRS microphone) down to a stereo track, which is sent straight to streaming apps like Instagram, Facebook, Twitch, etc.
Switching to multichannel mode, the combo and TRRS inputs are routed to channels 3 and 4 respectively giving users 4 channels of audio to send to recording apps such as GarageBand or any other compatible DAW.
Pro results with Loopback+
iRig Stream Pro‘s multichannel mode offers another advantage. Loopback+ is a powerful new feature that lets users route either or both channels 3 and 4 to audio apps such as MixBox, AmpliTube, or VocaLive for processing and then route their outputs through the Loopback feature and into channels 1+2 going to their preferred streaming app. It’s like using these audio apps as a plug-in for more creative and professional-sounding streams.
Connect more with the world
iRig Stream Pro makes it easier than ever to connect it all with USB, USB-C, and Lightning cables included in the box. It operates with two AA batteries or via bus power on any Mac/PC. Plus an optional PSU, not only powers iRig Stream Pro, but also keeps iPhones or iPads charged for even the longest sessions.
Comprehensive compatibility
Both iRig Stream Solo and iRig Stream Pro work with any app that records or streams audio or video. To get started, they come with iRig Recorder 3 LE (iPhone/iPad/Android) – an easy-to-use, high-quality audio and video recording app. Record, trim, edit and share, right from the device.
Pricing and availability
iRig Stream Solo and iRig Stream Pro are available now from the IK Multimedia online store and from IK authorized dealers worldwide for $/€49.99 and $/€199.99** respectively.
**All pricing excluding taxes
For more information about iRig Stream Solo and iRig Stream Pro or to see them in action, please visit: www.irigstream.com/solo and www.irigstream.com/pro
Alberobello, ITALY: professional producer and seller of content for all guitar and bass digital devices ChopTones is proud to announce the availability of Twinology vol1 as its latest ChopTones Cab IR release — represented as a smart, ready-to-play pack comprising 30 IRs (Impulse Responses) of authentic tone goodness gained from filming (and recording) a comparative video based on a Fender Twin 2×12 cabinet loaded with 10 American classic speakers — and also The Ultimate Twin IR Bundle — another appropriately-named pack featuring over 14,000 individual IRs based on those same cabinet combinations, readily representing an attractive 50% saving over buying them derived from each of those 10 American classic speakers separately — as of October 21…
While working on a Fender Twin 2×12 cabinet-demonstrating video, the finely-tuned ears of ChopTones collectively noticed how the Twin’s tone changed considerably when loading it with 10 different American classic speakers — namely, Fender’s stock Special Design from Eminence, Jensen’s C12K, Celestion’s V-Type, Weber’s FC12, Supro’s BD12, Eminence’s Cannabis Rex, JBL’s D120, JBL’s E120, WGS’ G12C/S, and Celestion’s Neo Creamback. Clearly, those tone-changing results were too good to waste, whereby they effectively resulted in the release of Twinology vol1 as the latest ChopTones Cab IR, available as a smart, ready-to-play pack comprising 30 IRs of authentic tone goodness gained from filming (and recording) that comparative video using Royer R121, Sennheiser MD421, and Shure SM57 microphones, working with Chandler Germanium and Neve 1073 preamps, all captured with a neutral power amp. All are available in 24-bit 44kHz/48kHz/96kHz WAV (Waveform Audio) file formats for converting or loading into digital modelers or outboard IR loaders such as Kemper’s KPA, Line 6’s Helix, Two Notes’ hardware and software, Fractal Audio’s hardware and software, and many more.
Moreover, The Ultimate Twin IR Bundle brings about no fewer than 14,488 individual IRs from working with those same American classic speakers. Speaking of which, it collectively comprises Fend TWR BD12 — based on a Fender Twin Reverb loaded with Supro’s BD12; Fend TWR C12K — based on a Fender Twin Reverb loaded with Jensen’s C12K; Fend TWR D120 — based on a Fender Twin Reverb loaded with JBL’s D120; Fend TWR E120 — based on a Fender Twin Reverb loaded with JBL’s E120; Fend TWR EMFDS — based on a Fender Twin Reverb loaded with Eminence’s Fender Special Design Speaker; Fend TWR FC12 — based on a Fender Twin Reverb loaded with Weber’s FC12; Fend TWR G12CS — based on a Fender Twin Reverb loaded with WGS’ G12C/S; Fend TWR NeoCB — based on a Fender Twin Reverb loaded with Celestion’s Neo Creamback; Fend TWR REX — based on a Fender Twin Reverb loaded with Eminence’s Cannabis Rex; and, last but not least, Fend TWR VTY — based on a Fender Twin Reverb loaded with Celestion’s V-Type. Capture comes courtesy of ChopTones creatively using a wide range of professional studio-grade microphones, including AKG C414, AKG C414 XLS, AKG D12, Audiotechnica AT2035, Audix i5, Beyerdynamic M160, Beyerdynamic M201TG, Coles 4038, Electrovoice RE20, Electrovoice Cardinal, Grundig GDM121, Heil PR20, Heil PR30, MD421 Fredman, Neumann KM84, Neumann KM184, Neumann TLM103, Neumann U47, Neumann U87, RetroTube II, RM700, Royer R121, Sennheiser e609, Sennheiser e906, Sennheiser MD409, Sennheiser MD421, Sennheiser MD441, Shure SM57, Shure SM58, Shure SM7, Shure SM7B, Shure Unidyne III, SM57 Fredman, and Soyuz 017 Tube, while working with API channel, Chandler Germanium, Neve 1073, and SSL channel preamps. Several so-called QUICK START (MD421/R121, RE20/R121, SM57/MD421, SM57/R121, SM7/R121, U87/R121) microphone blends are also featured. Again, all are captured with a neutral power amp, and all are available in 24-bit 44kHz/48kHz/96kHz WAV file formats for converting or loading into digital modelers or outboard IR loaders such as Kemper’s KPA, Line 6’s Helix, Two Notes’ hardware and software, Fractal Audio’s hardware and software, and many more — all the while representing remarkable ‘IR bang’ for the buck, and all thanks to ChopTones working on that Fender Twin 2×12 cabinet-demonstrating video, which is itself, well worth watching (and hearing)!
Legal Disclaimer: All used company names, label names, and registered trademarks thereof are the property of their owners and only used for identification and description of products and achievements; ChopTones’ products simply seek to recreate the sound of the amplifiers, cabinets, and speakers listed and any use of brand names is strictly for comparison and descriptive purposes.
Hear how a Fender Twin’s tone changes considerably when loading it with 10 different American classic speakers while watching ChopTones’ ear-opening ‘ONE Fender Twin – TEN Speakers | Comparison Demo’ video here:
Twinology vol1 is available to purchase — and available in 24-bit 44kHz/48kHz/96kHz WAV (Waveform Audio) file formats for converting or loading into digital modelers or outboard IR loaders such as Kemper’s KPA, Line 6’s Helix, Two Notes’ hardware, and software, Fractal Audio’s hardware and software, and many more — for €24.90 EUR directly from ChopTones via its dedicated webpage here: https://www.choptones.com/products/twinology-vol1-cabinet-ir
The Ultimate Twin IR Bundle is available to purchase — and also available in 24-bit 44kHz/48kHz/96kHz WAV file formats for converting or loading into digital modelers or outboard IR loaders such as Kemper’s KPA, Line 6’s Helix, Two Notes’ hardware, and software, Fractal Audio’s hardware and software, and many more — for €129.90 EUR (readily representing an attractive 50% saving over buying its 14,488 individual IRs derived from each of the involved 10 American classic speakers separately) directly from ChopTones via its dedicated webpage, which also includes links to the included products with more in-depth info, here: https://www.choptones.com/apps/bundles/bundle/82498
About ChopTones (www.choptones.com)
Since 2014 ChopTones has been involved in the professional production and sale of content for all guitar and bass digital devices. Indeed, its catalog comprises around 2,600 digital products for over 30 different platforms. As an acclaimed company, ChopTones operates on all major social media channels to promote its catalog, concentrating on a huge video section to not only demonstrate tones but also guitar and bass guitar gear in general.
© 2021 ChopTones SRL
LONDON, UK: having successfully cemented a creative partnership with world-famous Abbey Road Studios late last year as ABBEY ROAD ONE: ORCHESTRAL FOUNDATIONS inaugurated its ABBEY ROAD ONE: FILM SCORING SELECTIONS series showcasing the foundational film scoring sound of Studio One by carefully capturing a 90-piece symphonic orchestra inside the world’s largest purpose-built recording studio, Spitfire Audio is proud to announce availability of ABBEY ROAD ONE: VIBRANT REEDS — representing the latest addition to its ever-expanding orchestral range of subsequently-released smaller standalone sample libraries carefully captured in that same studio namesake, also adept as additions to ABBEY ROAD ONE: ORCHESTRAL FOUNDATIONS itself, this time offering a dazzling ensemble of oboes and clarinets, performed in octaves, alongside an evocative pairing of oboes and cor anglais as classic cinematic pairings heard on countless scores, perfectly presented as pre-orchestrated patches for immediate creative control and stunning realism housed in Spitfire Audio’s award-winning AU-, AAX-, NKS-, VST2-, and VST-compatible plug-in that loads into all major DAWs (Digital Audio Workstations) without the need for any additional software — as of October 14…
Thanks to its carefully chosen selection of essential and unique techniques, such as shining longs, playful staccatos, intriguing mordents, and Spitfire Audio’s newly-developed, easy-to-use legatos patches providing everything needed to create scores ready for the big screen, who better, then, to formally introduce ABBEY ROAD ONE: VIBRANT REEDS in all its cinematic-sounding musical glory than the sound-specializing British music technology company’s co-founder Paul Thomson, himself no stranger to the wonderful world of film scoring as an English composer for film, television, and video games — and also music technologist to boot. “This one focuses on oboes and clarinets in octaves, and then there’s also a few patches with a cor anglais included as well for an extra kind of vibrancy. As ever, they focus on doing specific things incredibly well.”
With its latest ABBEY ROAD ONE: VIBRANT REEDS release, Spitfire Audio beautifully captures expressive performances of two oboes and two clarinets as a pure and pristine sound orchestrated in the traditional octave spacing, along with an additional pairing of two oboes with cor anglais for a truly evocative sound heard in Hollywood film scores such as American composer, conductor, pianist, and trombonist John Williams’ E.T. the Extra-Terrestrial (1982), fellow American composer and conductor Jerry Goldsmith’s Total Recall (1990), and throughout the Harry Potter film series (2001-2011). As a commonly heard orchestral blend of woodwinds, ABBEY ROAD ONE: VIBRANT REEDS includes an array of techniques, including legato, long, staccatos, as well as major and minor mordents, to allow for focusing on writing expressive themes and melodies while quickly creating an instantly recognizable, high-quality cinematic sound.
Saying that, realism abounds as any ABBEY ROAD ONE: VIBRANT REEDS user effectively enters the room that most composers can only dream of — namely, Abbey Road Studios’ Studio One. Of course, Studio One is considered to be one of the finest acoustical spaces in the world, with its history having an indelible connection with the scores recorded there, embedding emotion, mood, and magic into many of the most renowned films ever made. Musical matches made in heaven, classics such as Star Wars, Lord of the Rings, Harry Potter, and Avengers: Endgame were all recorded in Studio One. Thanks to its rich tonality and famed reverb, Studio One’s sound is widescreen and epic — truly the iconic sound of cinema.
Continues Paul Thomson: “The first [LEGATO (8ve)] legato gives you a relatively solid sound — quite a pure, clean sound, yet you’ve still got that fantastic dynamic range with that added kind of spiciness and piquancy when adding in the cor anglais to the mix. This is a sound that’s incredibly familiar — something that you find very commonly in Hollywood film scores, so it’s something that’s very useful — the second most used orchestral blend in the woodwinds, after the traditional flutes with a piccolo an octave up. Looking at the individual patches within this library, we’ve got the longs [LONG (8ve)] that are based on just the oboes and clarinets, which you can use for that kind of gentle, soft, and very pure sound, but it can also get quite solid and quite punchy, and if we look at the corresponding long, which we’ve called VIBRANT LONG [(8ve)], which is the version with the cor anglais in the mix, you hear that extra color come in — a fabulous, rich sound. We’ve also got fantastic staccatos [STACCATO (8VE)] built with the same ensembles. In addition to those, and matching up to the mordents we have in the earlier library, we have these fabulous mordents with a minor [MORDENT MIN 2ND (8ve)] and major 2nd [MORDENT MAJ 2ND (8ve)] and a minor [MORDENT MIN 3RD (8ve)] and major 3rd [MORDENT MAJ 3RD (8ve)]— mordent being also known as a ‘shake’, which is, again, very familiar, and really great to use as a kind of standalone thing, or you can use it as part of a phrase.”
Performed in the unmistakable acoustics of Abbey Road Studios’ Studio One — to which it obviously owes part of its instantly recognizable name, ABBEY ROAD ONE: VIBRANT REEDS realizes further enrichment of the already available offerings in its namesake orchestral range — namely, ABBEY ROAD ONE: SPARKLING WOODWINDS, ABBEY ROAD ONE: LEGENDARY LOW STRINGS, ABBEY ROAD ONE: WONDROUS FLUTES, and, hitherto most recently, ABBEY ROAD ONE: GRAND BRASS.
But equally attractive is the fact that ABBEY ROAD ONE: VIBRANT REEDS — and, indeed, all of its ABBEY ROAD ONE: FILM SCORING SELECTIONS series siblings — puts the same first-call musicians that play on globally successful movies at anyone’s fingertips, all recorded by multi-GRAMMY® Award-winning engineer Simon Rhodes (Avatar, Harry Potter, Hugo) and featuring Abbey Road Studios’ coveted collection of microphones and outboard gear. Get this, though: ABBEY ROAD ONE: VIBRANT REEDS is actually a fully-fledged standalone library in its own right, recorded the same way that its users’ favorite film composers would: with the unmistakable acoustics of Abbey Road Studios’ Studio One, exceptional players, award-winning sound engineers, and priceless microphones, albeit all allowing them to quickly and easily create film scores, saving time layering and trying to mix, thanks to stunning options of microphone positioning and mixes that are consistent across all of Spitfire Audio’s ABBEY ROAD ONE: FILM SCORING SELECTIONS series — and all without leaving their computer comfort zone.
Alongside ABBEY ROAD ONE: VIBRANT REEDS, Spitfire Audio is also proud to announce the availability of ABBEY ROAD ONE: THE COLLECTION, comprising all six ABBEY ROAD ONE: FILM SCORING SELECTIONS series sample libraries to date, including the aforesaid ABBEY ROAD ONE: ORCHESTRAL FOUNDATIONS that successfully cemented Spitfire Audio’s continuing creative partnership with the world-famous Abbey Road Studios late last year, allowing anyone access to the classic sounds of cinema — and all at an attractive price to boot. “All of these sounds really lock together absolutely perfectly and give you the sound of Studio One in Abbey Road, which, again, is such a familiar sound from film scoring.” So says the justifiably proud Paul Thomson, perfectly ending on a high note himself.
ABBEY ROAD ONE: VIBRANT REEDS is available as an AAX-, AU-, VST2-, and VST3-compatible, NKS (Native Kontrol Standard)-ready plug-in that loads directly into a DAW (Digital Audio Workstation) at an attractive RRP (Recommended Retail Price) of only £49.00 GBP (inc. VAT)/$49.00 USD/€49.00 EUR (inc. VAT) from here: https://www.spitfireaudio.com/shop/a-z/abbey-road-one-vibrant-reeds/
ABBEY ROAD ONE: THE COLLECTION, comprising all six ABBEY ROAD ONE: FILM SCORING SELECTIONS series sample libraries to date — namely, the inaugural ABBEY ROAD ONE: ORCHESTRAL FOUNDATIONS, plus the ABBEY ROAD ONE: SPARKLING WOODWINDS, ABBEY ROAD ONE: LEGENDARY LOW STRINGS, ABBEY ROAD ONE: WONDROUS FLUTES, ABBEY ROAD ONE: GRAND BRASS, and ABBEY ROAD ONE: VIBRANT REEDS followup releases, is available as a series of AAX-, AU-, VST2-, and VST3-compatible, NKS-ready plug-ins that load directly into a DAW at an attractive RRP of only £449.00 GBP (inc. VAT)/$485.00 USD/€485.00 EUR (inc. VAT) — representing a substantial saving of 30% when priced against purchasing all six sample libraries individually, and available as such until the next ABBEY ROAD ONE: FILM SCORING SELECTIONS series sample library is launched — from here: https://www.spitfireaudio.com/shop/a-z/abbey-road-one-the-collection/
Spitfire Audio’s namesake Spitfire Audio application allows anyone to buy now and download anytime and is available for free from here: http://www.spitfireaudio.com/info/library-manager/
For more in-depth info, including some superb-sounding audio demos, please visit the dedicated ABBEY ROAD ONE: VIBRANT REEDS webpage here: https://www.spitfireaudio.com/shop/a-z/abbey-road-one-vibrant-reeds/
Watch Spitfire Audio’s launch premiere of ABBEY ROAD ONE: VIBRANT REEDS — including its tantalizing trailer video and Paul Thomson’s ‘traditional’ walkthrough — here:
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.
About Abbey Road Studios (www.abbeyroad.com)
Abbey Road Studios is the most famous recording studio in the world and a global music icon. It was declared an English Heritage Grade II listed site in 2010, but the focus continues to be on the future and helping to spread the expertise and knowledge present within the building to a new generation of musicians, engineers, and producers around the world.
© 2021 Spitfire Audio Holdings Limited
October 12, 2021 – IK Multimedia is pleased to announce the T-RackS TASCAM® Tape Collection, a collection of AAX, VST, and AU plugins for mixing and mastering. The new T-RackS TASCAM Tape Collection draws upon the strengths of four meticulously restored TASCAM analog recording systems long recognized for their glorious tone and other audible hallmarks. Developed with IK’s award-winning modeling technology and in direct collaboration with TASCAM themselves, the result of this coordinated effort allows musicians to introduce the warmth and classic characteristics of some of the finest analog recorders into today’s digital recordings-ultimately delivering the best of both worlds.
Officially certified models
The TASCAM Tape Collection offers 4 iconic analog tape machines:
The TEAC A-6100 MKII, an upgraded version of the original mastering recorder first released in 1973 and still much sought-after today for adding tape warmth and color to recordings.
The TEAC A-3340S, released in the early ’70s, is the deck behind many famous song demos, and even whole albums made by some of the most influential rock bands ever.
The TASCAM 388, released in 1985, combines an 8-channel mixing console and an 8-track tape machine in one. Hugely successful, and still fetching high prices today, the 388 is revered for its warm and evocative sound.
The cassette-tape-based TASCAM PORTA ONE MINISTUDIO from 1984 was TASCAM’s best-selling PORTASTUDIO, introducing thousands of musicians to the joys of home recording. Even today, the PORTA ONE remains popular for creating “lo-fi” sounds, creative experiments, and even live performances.
A true collaboration
From the onset of this project, IK Multimedia and TASCAM agreed that the goal was to create authentic TEAC and TASCAM tape tone. To that end, TASCAM selected the specific unit of each model, each fully rebuilt and meticulously calibrated. And for even greater accuracy, TASCAM provided information about the analog tape these systems were biased for.
Davide Barbi, IK Multimedia’s Chief Technology Officer, commented on the new T-RackS TASCAM Tape Collection, “Since the onset of digital recording, musicians and engineers have been wanting an easy, seamless way to introduce the unique tonal characteristics of analog sound into the contemporary DAW environment. Our new T-RackS TASCAM Tape Collection does just that-with the accuracy, warmth, and subtle idiosyncrasies that made analog so special, to begin with. Together with TASCAM, we have created a special set of tools that, I believe, have the ability to inject a new level of authenticity and vibrancy into a wide range of music and other recording efforts.”
Comprehensive controls
Each TASCAM tape machine module offers common controls such as input and output levels, selectable input and reproduction audio paths, and a carefully chosen selection of recommended and classic tape formulations-each with its own unique sonic character. A physically modeled alignment section lets users go beyond the regular audio alignment of the machines to experiment with the effect of different bias levels, recording levels to tape, and recording and playback EQs.
Additionally, IK Multimedia’s modeling team has included two popular features from IK’s Tape Machine collection. The Transport Modeling function accurately reproduces the small inaccuracies of the tape position in front of the head for incredible life-like performance, while True Stereo operation provides a perfect recreation of the stereo image effect produced by subtle differences that inevitably exist between the left and right channels on an analog machine.
The T-RackS TASCAM Tape Collection offers two ways to work: as a stand-alone AAX, VST2/3 and Audio Units plug-in, or inside the T-RackS 5 shell. Use these together with any of the other 48 T-RackS processors to mix and master faster than ever-creating a powerful, lightning-fast workflow.
Pricing and availability
The T-RackS TASCAM Tape Collection is available for purchase from the IK Multimedia online store and from IK authorized dealers worldwide at a special limited-time introductory price of $/€129.99* (reg. $/€199.99). The four included individual TASCAM tape machines can also be purchased separately for a limited-time introductory price of $/€79.99* (reg. $/€99.99).
*All pricing excluding taxes
For more information on T-RackS TASCAM Tape Collection please visit www.ikmultimedia.com/tascam