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Spitfire Audio BLANKFOR.MS - TAPE SYNTHS

SpitfireAudio TY
Tyler Gilmore

Spitfire Audio announces the availability of BLANKFOR.MS - TAPE SYNTHS - duly designed to immerse producers, composers, and beat-makers in the tape-drenched world of renowned Brooklyn-based composer and electronic musician Tyler Gilmore (a.k.a. BlankFor.ms) as an aptly named unique-sounding, deeply-sampled software instrument anchored around a vast (~10.5GB), inspiring collection of mind-bending dreamlike sounds and unpredictable, multi-layered textures, dripping with vintage analogue warmth and nostalgia, thanks to the radically transformative processed signal featuring over 150 layers of tape and granular processing across 28 main presets presented in the sound- specialising British music technology company’s award-winning AAX-, AU-, VST2-, and VST3-compatible, NKS (Native Kontrol Standard)-ready plug-in that loads into all major DAWs (Digital Audio Workstations) without the need for any additional software - as of August 18…

As a living, breathing machine of complex sonic metamorphosis spanning multiple genres, BLANKFOR.MS - TAPE SYNTHS pushes the tone-shaping magic of tape to its limits, harnessing its Brooklyn-based BlankFor.ms namesake’s enviable collection of classic and unique tape machines, pedals, and unusual gear, coupled with bespoke experimental processing techniques to create a kaleidoscopic range of multidimensional textures that change and grow beneath its user’s fingertips. For through BLANKFOR.MS - TAPE SYNTHS, Tyler Gilmore (a.k.a. BlankFor.ms) shares his unique creative process and lifelong passion for the world of tape and its endless spectrum of sonic possibilities - from lo-fi digital grit and playful stabs, plucks and bells through to Eighties neon-lit, retro pads, gamer’s nostalgia, and woozy, shimmering euphoria. While working out of his Brooklyn-based studio, the artist uses a range of degraded tape machines run through rare and classic pedals, tone- shaping devices, vintage delay chips, and other unusual equipment, spanning Sony’s once-ubiquitous Walkman (starting its revolutionary life in 1979 as a culturally- changing portable cassette player before the brand was extended to serve most of the Japanese giant’s portable audio devices) to a 1981-vintage Library of Congress C1 cassette player (featuring some unique features, making it an interesting tool for experimenting with cassette tapes), and a range of TASCAM Portastudio 4-track cassette recorders (famed for jumpstarting the home recording revolution), as well as a modular (synth) system - all heavily mangled and processed via tape splicing, pitch-shifting, generative techniques, analogue saturation, filtering, distortion, granular synthesis, and more.

Perfectly positioned to provide further insight into the creativity of working with tape, Tyler Gilmore himself says, “To my ear, tape introduces a deep, organic version of chaos. It brings a level of randomisation in both subtle and not-so-subtle ways. Pitch [tape speed], filtering, and level are all subject to constant variability. It occurs to the brain as a hazing effect when used lightly, and disorienting when intensified. We have become so accustomed to digital audio and its pristine perfection that tape’s magic has a new sort of value. It brings something more tactile - more alive - to the tones.”

But BLANKFOR.MS - TAPE SYNTHS subsequently grew out of its creator’s vision of ‘only’ passing basic synth tones through each tape machine, which users could then scroll through using the mod wheel, to include complex synth tones, delay circuits, analogue distortion circuits, and effects pedals passed through various signal chains for degradation, flavour, colouration, and vibe.

But better still, the resultant unique-sounding, deeply-sampled software instrument - presented in Spitfire Audio’s award-winning AAX-, AU-, VST2-, and VST3- compatible, NKS-ready plug-in that loads into all major DAWs without the need for any additional software - allows its users to move between up to seven layers of tape and granular processing on each preset, featuring over 150 layers across the 28 main presets - PADS (x10), KEYS (x12), and ARP (x6), while wide-ranging inbuilt controls - EXPRESSION (adjusts the level of the technique), DYNAMICS (allows users to move between multiple layers of varied processing, including tape machines, vintage delay circuits, analogue distortion, and granular synthesis), ATTACK, DECAY, SUSTAIN, RELEASE, REVERB (allows users to select between alternative reverb types, choosing between a bespoke collection of seven impulse responses, ranging from short studio and rooms to long, cavernous churches and halls), and START POINT (cuts further into the note) - offer endless analogue inspiration and exploration, effectively.

SpitfireAudio Tape Synths UI

It is fair to say, then, that BLANKFOR.MS - TAPE SYNTHS has what it takes to transform the wonderful world of soundscapes - from woozy, dusty lo-fi atmospheres to rich, multi-tonal granular synth textures that will haunt and glisten, regardless of whether used by pop producers, electronic remixers, beat-makers, or composers writing their next indie or game score.

Says Tyler Gilmore: “Imagine that dusty unmarked cassette you find in a thrift store... lush tones hidden behind a veil of tape degradation, distortion, and magnetic saturation. There’s something magical about how each tape machine filters, destabilises, and saturates whatever is recorded onto it.”

Duly designed to encourage sound design, BLANKFOR.MS - TAPE SYNTHS showcases 138 presets - including no fewer than 110 made by BlankFor.ms - as a starting point, offering users as many opportunities as possible to make the sounds their own. If it is instantly usable sounds straight out of the box being sought after or, conversely, hours spent getting lost in analogue inspiration then BLANKFOR.MS - TAPE SYNTHS surely succeeds in its musical mission of introducing new and unpredictable colours and textures to anyone’s sonic palette.

Put it this way: “I don’t know of another software instrument quite like this... once the Spitfire [Audio] team built out the first draft, we knew we had something incredible.” So says Tyler Gilmore by way of a fitting conclusion.

BLANKFOR.MS - TAPE SYNTHS 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 - macOS 11) and Windows (7, 8, and 10 - latest Service Pack) that loads directly into any compatible DAW (Digital Audio Workstation) for a price of only £49.00 GBP/$49.00 USD/€49.00 EUR.

Spitfire Audio’s namesake Spitfire Audio application allows anyone to buy now and download anytime, and is available for free from the website below.

www.spitfireaudio.com

Lawo Partner PAT wird Technologie-Partner des New Zealand Symphony Orchestra

Lawo NZSO PR3s

Lawo-Partner Professional Audio & Television (PAT) übernimmt in einer Technologie-Partnerschaft mit dem New Zealand Symphony Orchestra (NZSO) den Umbau und die Ausstattung der historischen Wellington Town Hall.

Das NZSO, eines der ältesten nationalen Sinfonieorchester der Welt, begeistert das Publikum seit 1946 mit hochkarätigen Konzerten und Aufnahmen. Im Jahr 2016 war das NZSO bei den renommierten Grammy Awards für die beste Orchesterleistung nominiert und hat Musik für eine Reihe von Film- und Game-Projekten aufgenommen, darunter Wish Dragon, The Hobbit, The Lovely Bones, Krampus, Emperor, Escape Plan, Mortal Engines und Titanfall 2.

PAT ist hocherfreut über seine Wahl zum Technologie-Partner für dieses Projekt. Das Herzstück der Installation bildet ein Lawo mc²96 Audio-Produktionspult mit 72 Fadern in Kombination mit einem 16-Fader Lawo mc²56. Als DSP-Ressourcen teilen sich beide Pulte zwei redundante, superkompakte Lawo A__UHD Cores von je 1HE. Lawo A__stage Stageboxen stellen Audiosignale über ein redundant aufgebautes SMPTE 2110-30 AoIP-Netzwerk bereit. Das Mediennetzwerk wird von einem Meinberg microSyncRX getaktet, der ein hohes Maß an Effizienz und Vielseitigkeit bietet und durch seine hohe Portdichte besticht. Lawos neue Cloud-native Management-Plattform HOME für IP-basierte Medieninfrastrukturen leistet die Anbindung, Verwaltung und Sicherung aller Aspekte der Live-Produktionsumgebung. PAT hat außerdem HAPI-Schnittstellen von Merging Technologies über HOME vollständig in die Lawo-Umgebung sowie über die Microsens Fibre Bridges in das 2110-Netzwerk integriert. Das verbessert nicht nur die IO-Leistung, sondern stellt auch eine nahtlose und einheitliche Schnittstelle für das Team im Regieraum bereit wie auch für mehrere AVID ProTools-Terminals, die im gesamten Gebäude verteilt sind. Ein Lawo PowerCore mit einer Dante-IO-Erweiterungskarte und StudioHub XLR Breakout-Panels dienen als zentrales Kommunikations- und Talkback-System, das von der Densitron IDS Core Software über Ember+ gesteuert wird. Der Densitron-Core wird auch für die Orchestrierung und Steuerung von Beleuchtung, digitaler Beschilderung und Videoelementen zwischen den einzelnen Aufführungs- und Ausbildungsbereichen verwendet. Außerdem zeigt sie die Buchungs- und Statusinformationen für viele Räume der Townhall an und hält Dirigenten und Partiturenleser mit Taktschlag- und Taktinformationen während der Aufnahmen auf dem Laufenden.

Lawo NZSO PR1s
L-R: Mike Heard (PAT), Craig Thorne (NZSO), John Neill (NZSO Consultant Engineer) und Keith Prestidge (Lawo)

Craig Thorne, NZSO Senior Manager of Projects, erklärt: „Als das New Zealand Symphony Orchestra mit der Planung seiner neuen Tonaufnahmestudios begann, wollten wir nicht mit irgendeinem Dienstleister zusammenarbeiten, sondern mit einem Partner, der uns von der Konzeption bis zum Betrieb begleitet. Mit PAT haben wir genau das bekommen – ein Team von authentischen, engagierten, fachkundigen Designern und Ingenieuren, die unser Geschäft verstehen und eng mit uns zusammenarbeiten, um die richtigen Lösungen für unsere speziellen Anforderungen zu liefern. Um unsere Lawo mc²96- und mc²56-Produktionsmischpulte werden wir bereits von vielen Toningenieuren beneidet, und sobald sie in Betrieb sind, werden sich die NZSO-Studios mit den besten Tonstudios der Welt messen können.“

Mike Heard, Senior Solutions Architect bei PAT, sagt: „Die Mitarbeit an diesem Projekt ist für mich schon jetzt ein Höhepunkt meiner Karriere. Jeder, vom Bauleiter bis zu den Projektmanagern und unserem eigenen Team, engagiert sich mit großer Sorgfalt, echtem Interesse und wahrer Leidenschaft, um ein hervorragendes Ergebnis zu erreichen. Ich kann es kaum erwarten, bis sich die Türen öffnen und ich entspannt zurückgelehnt den Zauber der Eröffnung erleben kann. Das Interesse an diesem Projekt ist weltweit erstaunlich groß. Nun ist es also an uns, es kompetent und mit der gewählten Technologie abzuschließen, um die hochgespannten Erwartungen zu erfüllen.“

Keith Prestidge, Sales Director für die APAC-Region: „Es ist eine große Ehre für das gesamte Lawo-Team, an diesem hochkarätigen Projekt des New Zealand Symphony Orchestra mitzuwirken. Geplant, koordiniert und installiert von unserem bewährten Partner Professional Audio & Television, in Zusammenarbeit mit dem Kunden und Lawo, bekommt das NZSO erstklassige mc² Produktionsmischpulten sowie eine Medieninfrastruktur, die skalierbar, sicher und zukunftssicher ist. Vielen Dank an alle Beteiligten, die dieses Projekt möglich gemacht haben.“

www.lawo.com

SAE Institute auf der gamescom 2022

SAE Gamescom 2022

Vom 24. bis 28. August 2022 informiert das SAE Institute auf der gamescom in Köln, wie ein erfolgreicher Start in der Games-Branche und Kreativwirtschaft gelingen kann. Auf dem großen Messestand in Halle 10.2 (Standnummer C011) berät der weltweit führende private Bildungsanbieter für Kreativberufe über die vielfältigen Karriereperspektiven. Zudem werden zehn neue Games präsentiert, die von SAE-Studierenden entwickelt wurden und vor Ort angespielt werden können. Der neue Tetris-Look des Messestandes auf dem weltweit größten Event rund um Computer- und Videospiele steht für einen weiteren Schwerpunkt am SAE Institute: maximale Flexibilität im Studium und ein breit gefächertes, zeitgemäßes Studienangebot.

Wie individuelle Studien- und Karrierewege in eine der Boom-Branchen beschritten werden können, zeigt das SAE Institute auf der gamescom. In Halle 10.2 an Stand C011 können sich Besucher·innen in einer unterhaltsamen Atmosphäre aus erster Hand über die praxisnahen Studien- und Weiterbildungsmöglichkeiten am SAE Institute informieren. Auf den Bedarf nach möglichst individuellen Studienverläufen, die zur jeweiligen Lebenssituation passen, reagiert das SAE Institute als „Home of Media Education“ mit praxisorientierten, individuellen und flexiblen Studien- und Weiterbildungsangeboten. Dozent·innen und Bildungsberater·innen stehen für Fragen zur Verfügung und erklären, wie der Einstieg in die Medienwirtschaft gelingt, welche Voraussetzungen Interessent·innen mitbringen sollten und welche vielfältigen Karrierechancen die Games-Branche bietet.

Zudem präsentieren SAE-Studierende und Absolvent·innen ihre erarbeiteten Projekte. Gleich zehn neue Games können am neuen SAE-Stand gespielt werden. Neben dem Spielspaß bietet das die ideale Gelegenheit, die Studierenden aus den Fachbereichen Game Art und Game Programming hautnah kennenzulernen und sich mit ihnen persönlich auszutauschen. Gezeigt werden beispielsweise eine Cookie Catcher VR Experience sowie das Arcade Game TankPatrol im 80er Jahre-Look (SAE Institute München), das Zaubertrank-Spiel Magnum Opus (SAE Institute Bochum) und das Rogue Like Fighting Game Akane (SAE Institute Hamburg). Vom 8Bit Game bis zum Fantasy Role Play Game ist alles dabei und macht einen Besuch am SAE-Stand für alle Gaming-Fans zum Muss.

www.sae.edu

Studioszene 2022 - Der Countdown läuft!

Studioszene 2019 Ausstellung

Es sind nur noch wenige Tage bis zur Studioszene 2022, die am 30. & 31. August im Rosengarten Mannheim stattfindet und auf die sich die gesamte Recording-Community freut. Also ran an die Tickets, und seid bei der Studioszene dabei. Sie ist der Treffpunkt für alle Audio Engineers, Producer und Home-Recorder mit über 40 Masterclasses, Diskussionsrunden und Workshops, in denen gestandene Profis zeigen, wie ihr eure Recordings, Mixings & Master besser klingen lasst. Außerdem präsentieren über 50 Top-Audio-Brands ihr Gear direkt zum Ausprobieren.

Die Tickets  zu einem Preis von 39 € gibt es sowohl af der unten angegebenen Website als auch an der Tageskasse.

In den 90-minütigen Masterclasses geben euch die Referenten einen tiefen Einblick in ihre Arbeit, verraten ihre Tricks und beantworten eure Fragen persönlich:

Dienstag, 30.08.:

  • Drum-Recording – Moses Schneider (AnnenMayKantereit)
  • Hinter den Kulissen von „Sing meinen Song“ – Mathias Grosch
  • Farben im Recording – Wolfgang Stach (Bosse)
  • Musikproduktion für Game Trailer – 2WEI (The Call – The League of Legends)
  • Vom Demo bis zum fertigen Song – Philipp Schwär (Kettcar)

Mittwoch, 31.08.:

  • Mixing Philosophie – Ralf Christian Mayer (Mark Forster)
  • Mastering eines Pop-Tracks – Roy Recklies (Robin Schulz)
  • Die Produktion von Unheilig – Lichtermeer – Henning Verlage (Unheilig) & Christoph Aßmann (Florian Silbereisen)
  • Heute als Produzent erfolgreich sein – Jens Schneider (1986zig)
  • Old School Hip-Hop-Sound neu aufgelegt – Bizzy Mo (Kollegah)

In den Workshops stellen euch Produktspezialisten und erfahrene User Tools & Equipment in der Anwendung vor.

Dienstag, 30.08.:

  • Hybrides Studio – Digitaler und analoger Workflow – Toni Loitsch – Cordial
  • Heimregie richtig einmessen – Markus Bertram – mbakustik
  • Live Songwriting Challenge – Max Grund & Lukas Mattioli – Black Lion Audio
  • Modulare Raumakustik für Homestudios und kleine Regien – Lukas Rimbach – GIK Acoustics
  • Glenn Fricker – Drum-Recording für den richtigen Metal-Sound – Lewitt Microphones

Mittwoch, 31.08.:

  • Musikproduktion in Dolby Atmos – David Ziegler – Dolby
  • Remic-Instrumenten-Mikrofone im Einsatz – Gregor Zielinsky – Remic Microphones
  • Immersive Music – Tom Ammermann – New Audio Technology
  • Einblick in die moderne Hip-Hop-Produktion – Nils Nöhden – Apogee
  • Dolby Atmos – Musikmischung in Cubase Pro 12 – Sebastian Moench – Steinberg
  • Techno der 90er ins 21. Jahrhunder transportieren – Kai Tracid

In den Diskussionsrunden sprechen Experten über Themenbereiche aus der Musikproduktion und beantworten eure Fragen.

Dienstag, 30.08.:

  • Musikalische vs. technische Seite einer Produktion – Moses Schneider, Wolfgang Stach, Jonas vom Recording Blog
  • Produktion von Film- & Trailer-Musik – Florian Sitzmann (Popakademie), Christian Vorländer, Simon Heeger, Hermann Schepetkov, Philipp Schwär
  • Analoges Arbeiten – Weg vom Rechner – Ruben Tilgner (Elysia), Roger Schult (roger schult german audio labs), Nick Mavridis (Bonedo)

Mittwoch, 31.08.:

  • Kooperationen im Studiobusiness – Henning Verlage, Jens Schneider, Bizzy Mo
  • DIY-Studiobau – Fritz Fey (Studio Magazin), Markus Bertram (mbakustik), Toni Loitsch (Nautilus Studio), Nick Hepfer (GIK Acoustics)
  • Kommerzielle Anwendungsbereiche für Immersive Music – Daniel Deboy (VDT, DELTASoundworks), David Ziegler (Dolby), Henning Verlage (Unheilig), Kseniya Kawko und Tom Ammermann (Kraftwerk 3D).

Das gesamte Programm kann auf der unten angegebenen Website eingesehen werden.

Die Aussteller:

  • AEA
  • API
  • Apogee
  • Artnovion
  • Arturia
  • Audix
  • Audeze
  • Audient
  • Audio Optimum
  • Audio Pro
  • Audiosteps
  • Austrian Audio
  • Avantone
  • Barefoot Sound
  • Best Service
  • Black Lion Audio
  • Bricasti Design
  • BURL Audio
  • Cordial
  • Cranborne Audio
  • Digico
  • Digigrid
  • Dutch&Dutch
  • Dynaudio
  • Elysia
  • FL Studio
  • Genelec
  • GIK Acoustics
  • Grace Design
  • Gyraf Audio
  • HEDD
  • IGS Audio
  • JLCooper Electronics
  • KALI Audio
  • Klang:Technologies
  • Klemm
  • KSdigital
  • Lewitt
  • mäag Audio
  • mbakustik
  • Microtech Gefell
  • MOTU
  • Neumann
  • PSIAudio
  • Remic Microphones
  • ReProducer Audio Labs
  • RØDE
  • Roger Schult German Audio Lab
  • Rupert Neve Designs
  • sE Electronics
  • Sennheiser
  • Sessiondesk
  • Smyth Research
  • Solid State Logic
  • Sonible
  • Sontronics
  • SPL – Sound Peformance Lab
  • Tegeler Audio Manufaktur
  • Telefunken
  • Terry Audio
  • TRINNOV
  • Tube-Tech
  • UnderToneAudio
  • United Brands GmbH
  • Unika Proaudio
  • Van Damme Cable
  • Vanguard Audio Labs
  • Warm Audio
  • Waves
  • Whitestone Audio
  • Zynaptiq

www.studioszene.de

W.A. Production InstaChord 2 MIDI

WAProductions Inst Chord 2

W.A. Production, producers crafting creative plug-ins to help anyone achieve studio- quality processing speedily and easily, announce the availability of the InstaChord 2 MIDI (Musical Instrument Digital Interface) processing plug-in - initially inspired by how chords are played on a guitar and applying that technique to experience the same feeling from a MIDI controller keyboard and DAW (Digital Audio Workstation) without memorising chord shapes and holding down all the notes to make the chords ring true, then taking the concept to the next level of music-making with notable new features as a chord creation and sequencing tool - as of July 28…

“We were so blown away by the reception to the original InstaChord that we couldn’t resist developing that concept into a fully-fledged chord creator and mini-sequencer; simple enough to be used by anyone, but with the power to make professional music, this dynamic MIDI processing plug-in is the chord creation and sequencing tool that will take your music to the next level.” So - speaking collectively - says W.A. Production by way of an introduction that is as easily digestible as the plug-in itself.

After all, when making music, the right chords are needed to set the tone, and InstaChord 2 delivers exactly what was called for... fast! Finding the best chord progression and applying a single pattern to play all of them while easily mastering some of the most difficult chords (in any music key and combination of notes and different voicings), this ideas engine will help to speed up workflow and the creative process. Producers or songwriters alike can use the plug-in in question to generate chord shapes, learn tricky harmonics, and share their creations with anyone.

After releasing InstaChord - itself initially inspired by how chords are played on a guitar (by fretting a chord with one hand and picking the strings with the other) and applying that technique to experience the same feeling from a MIDI controller and DAW without memorising chord shapes and holding down all the notes to make the chords ring true, an oft-requested update was to gain more control over strums and chord playback. Put it this way: with InstaChord 2, W.A. Production took note and ran with it, creating the Pattern Editor as a brand-new interface window, wherein users can create their own patterns and sequences, dragging notes around in a way that is already familiar from working with DAWs - produce soaring synth arpeggios, pounding piano chords, or delicate guitar riffs with full control over Time signature (independently for each of the 24 patterns, providing more flexibility), Play Mode (Loop - keep playing, One-shot - play once, or Hold - sustain the notes), and velocity (with creative editing controls for strum programming).

Turning to InstaComposer - a new-generation MIDI generator plug-in that can conjure up Melody, Rhythm, Bass, Pad, and Chord parts at the click of a button by plying AI (Artificial Intelligence) to create real McCoy musical motifs that are genuinely gainful as the next step in automatic composition - for further inspiration, W.A. Production implemented an AI-GEN button in InstaChord 2, which will take the existing scale and spawn brand-new riffs based on complex algorithms and a touch of randomisation. Results are always musical and inspirational, therefore those new ideas can be tweaked in the same way as any user-created patterns so that they will always fit perfectly into any composition.

Compared to the original InstaChord, the updated version also has many more playback options for fretting and picking notes - five in total, in fact, covering different behaviours for holding notes and toggling chords. Editing existing chords or creating custom ones by selecting intervals between notes is also possible, as is alternatively playing in notes with a MIDI controller keyboard to help InstaChord 2 learn its user’s favourite chord shapes. Since there are over 60 chord shapes to choose from, users are also free to explore inversions, voicings, augmentations, and extensions like never before, making their music sound more interesting and compelling. Choose chords from the extensive collection or hit that AI-GEN button to ask InstaChord 2 for fascinatingly inspirational suggestions. Set up to 24 different chords and switch between them using the Chord keys (for setting the chords and switching between them). It is even possible to transpose the current chords to any desired key with a couple of clicks.

Then there are more ways with InstaChord 2 to play with the Chord keys and Pick keys (for playing patterns) than there ever was with InstaChord, and all are fully customisable in its Pattern Editor. Examples include assigning a key to strum the top three notes of a chord and another to play a riff on the other three notes; needless to say, users could also play individual notes of the chord separately, so it is perfectly possible to manually arpeggiate or strum chords. Integrated into the Pick keys is an Action feature (for setting what the key should do when pressed); Action can be set to transpose by an octave or semitone, so provides an easy way to move chords around when playing live. Indeed, InstaChord 2 is highly customisable, allowing users to change things to suit their needs, such as selecting the size of the GUI (Graphical User Interface), playback type, key configuration, and position.

Programming chords and riffs with InstaChord 2 is simplicity itself, yet it is even easier to use its preset system to take care of things. Ultimately, users will never be stuck for ideas, thanks to having access to so many carefully prepared presets for both chord sequences and patterns that are suited to many types of instruments - all making for ideal jumping-off points for their next composition.

Clearly, then, InstaChord 2 is more than just an upgrade, but rather a complete overhaul of what was already an amazing MIDI processing plug-in that helped make playing chords and chord progressions faster and easier, forming a chord creation and sequencing tool taking music-making to the next level!

InstaChord 2 is available to purchase for a time-limited introductory promo price of only $26.70 USD (representing a significant 70% saving) - rising thereafter to its regular price of $89.00 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 audio previews.

www.waproduction.com

Recording Academy Renews Iron Mountain Entertainment Services Partnership

RA Maureen Lance Meg
L-R: Maureen Droney, Lance Podell and Meg Travis. Picture: Recording Academy

The Recording Academy Producers & Engineers Wing has renewed its partnership with Iron Mountain Entertainment Services (IMES), the Media & Entertainment division of Iron Mountain Incorporated® (NYSE: IRM).  

As the recording industry's trusted resource for preserving music and protecting musical intellectual property, and as an official P&E Wing Sustaining Partner, Iron Mountain Entertainment Services provides title sponsorship for professional development events and serves as a member of the P&E Wing Manufacturer Council, a diverse array of audio-related companies that functions as a creative think tank addressing industry issues. IMES will continue to work closely with the P&E Wing to raise awareness on the importance of archiving and preservation, as well as best practices in asset preservation and creative rights management.

IMES continues to be at the forefront of asset preservation, employing state-of-the-art techniques including proprietary media recovery technology and new client services such as the recently introduced digital repository Smart Vault. IMES and the P&E Wing will continue their collaborative efforts, which include industry events, data-gathering and analysis and other initiatives. Notably in 2021, the two organizations held a closed-door virtual summit, "Protecting Legacies: The Art, Science and Value of Music Archives," which resulted in a comprehensive industry survey on current trends in audio archiving.  

"The past few years have for us been a highly successful experiment in remote events, and we are ready for the next phase," stated Maureen Droney, Recording Academy Sr. Managing Director, Producers & Engineers Wing. "For example, our recent in-person 2022 Preservation Celebration at the IMES Hollywood headquarters attracted luminaries from across the spectrum of music recording for a high-level educational - and fun - get-together. IMES has been one of our closest allies through the pandemic, and as we explore what comes next, we will together continue to shine a light on the importance of best practices for archiving, preservation, restoration, and transfer, and we will be pushing forward with our initiatives in 2022 and beyond." 

Lance Podell, Senior Vice President and General Manager, Iron Mountain Entertainment Services, adds, "This is truly a special partnership, one that is centered on a shared mission and passion to preserve and share music for future generations. Together, our organizations will continue to raise awareness of the critical importance of thoughtful archive strategy, and work with creators, entertainers, producers, and engineers to develop and implement best practices to future-proof their life’s work."

www.recordingacademy.com

Zaor Maestro Solo 12+6

zaor maestro solo

Outboard-Geräte werden immer einen Platz im professionellen Tonstudio haben. Egal wie umfassend In-the-box-Lösungen in Zukunft sein werden oder wie gut Plug-ins den Sound bestimmter Prozessoren nachbilden, nichts ist vergleichbar mit der Einstellung von Kompression an echten Reglern. Der Zaor Maestro Solo 12+6 adaptiert das beliebte Maestro Tischkonzept in Form eines Sidecars, der jeden Studiotisch oder jedes Mischpult perfekt ergänzt.

Die Zaor Maestro Tische sind auf der ganzen Welt äußerst beliebte Mixing- und Mastering-Lösungen. Die stabile, luftdurchlässige Holzkonstruktion sorgt für eine ideale Belüftung der analogen 19-Zoll-Prozessoren. Dabei sind die Möbel akustisch in der Form optimiert, dass sie keinen Einfluss auf den Klang im Raum nehmen. Mit dem neuen Maestro Solo 12+6 kann das herausragende Maestro Konzept nun auch andere Tische und Mischpulte um zwölf Rack-Einheiten oben und sechs weitere unten erweitern. Als Sidecar beherbergt der Maestro Solo 12+6 alle wertvollen analogen und digitalen Schätze in einer nicht nur äußerst praktischen, sondern auch ästhetisch ansprechenden Konstruktion.

Zaor Maestro Solo 12+6 ist die perfekte Outboard-Erweiterung zu jedem Setup: vom Studio mit großem analogem Mischpult der alten Schule über digitale Mixer oder Controller bis hin zur Steuerung mit Maus und Tastatur für die Arbeit in-the-box. Der Maestro Solo 12+6 bietet die ergonomischen Qualitäten eines Produzententisches, indem er eine gute Übersicht und einen einfachen Zugriff auf alle Rack-fähigen Schmuckstücke ermöglicht. Es mag vielleicht angemessen erscheinen, sich vor wertvollen Kompressoren, EQs und Vorverstärkern zu verbeugen – es ist jedoch deutlich ergonomischer, die Prozessoren aus aufrecht und entspannt sitzender oder stehender Position zu bedienen. Und es ist auch akustisch vorteilhaft! Der Maestro Solo 12+6 ist dafür konzipiert, Outboard-Geräten zur Entfaltung ihres vollen Potenzials zu verhelfen – zusammen mit dem Tontechniker, der sie bedient.

Wie die gesamte Classic Serie von Zaor ist der Maestro Solo 12+6 aus hochwertigem Holz und MDF gefertigt und wird von erfahrenen Spezialisten in der hauseigenen Manufaktur in aufwendiger Handarbeit hergestellt. Sein luxuriöses Aussehen und die aufregend elegante Verarbeitung geben einen ersten Hinweis auf die Geräte, für die er entwickelt wurde: legendäre Dynamik- und Spektralprozessoren werden sich im Maestro Solo 12+6 wie zu Hause fühlen. Zusammen mit seinen Geschwistern, dem Maestro 36 und dem Maestro 24, und weiteren Tischen der Classic Serie, wie dem Onda, bildet der Maestro Solo 12+6 die Oberklasse des Zaor-Katalogs – ein schönes Beispiel dafür, wie gut gemachte Möbel ein Studio sowohl optisch als auch haptisch und ergonomisch aufwerten können.

Zaor Maestro Solo 12+6 ist ab sofort verfügbar in den Farben Cherry (Kirsche), Oak (Eiche) oder Silver (Silber), jeweils in Verbindung mit Mattschwarz. Die unverbindliche Preisempfehlung beträgt 1.449,00 Euro.

www.zaorstudiofurniture.com

Noise Engineering Tymp Legio and Polydactyl Versio

NoiseEngineering Tymp Legio

Noise Engineering announces two new modules: Tymp Legio for the 6hp Legio platform and Polydactyl Versio for the 10hp Versio platform.

Tymp Legio

Tymp Legio is inspired by the Noise Engineering team's love of all types of bang/crash/kick/boom sounds. This is not your normal drum-kit module with samples or simple emulations, though. Instead, they took the challenge of a small percussion module as an opportunity to fit the drums they wanted quick access to in 6hp. “We really wanted the module to showcase our sense of playfulness. We don’t take ourselves very seriously here and we had so much fun designing this module. We wanted the panel to reflect this,” said Markus Cancilla, Chief of Destruction. Tymp Legio has three modes - labeled Boot, Cat, Boing - each an onomatopoetic reference to the sounds it makes. The Tang switch offers variations within a mode. If you want to duck other signals in your patch to your percussion, run your audio into the stereo Quack input. Tymp Legio’s simple interface puts a massive tonal and textural range under your control.

Availability and pricing: Preorders open now. In stock in black and silver. Shipping from Noise Engineering and retailers starting August 25, 2022; Price: US$279

Notable features: Tymp Legio

  • 6 HP
  • Stereo percussion
  • That’s not a kick but it’s kickin’ my butt
  • Release the quack in: Stereo ducking
  • Intuitive controls but powerful sound
  • Platform: many modules for the price of one
Polydactyl Versio

NoiseEngineering Polydactyl Versio

Polydactyl Versio is Noise Engineering's take on a stereo multiband dynamics processor. Equally at home on single-instrument timbral processing and on end-of-chain gloss and mix cohesion, Polydactyl Versio is sure to be love-at-first-patch for anyone looking to zest up their mix. Polydactyl applies a unique and transparent algorithm across three adjustable bands for maximal dynamic impact. If transparent doesn’t suit your needs, add in some multiband saturation. Polydactyl also features a noise gate and limiting capabilities; this is a processor that gives ultimate control of color and dynamics in just 10hp.

Asked about the history of the module, Chief Noisemaker Stephen McCaul said, “We’ve wanted to make a multiband compressor forever, but never had confluence of hardware components to do it. For so long, it was just another idea that languished on our very long list of “someday” modules; we’re really excited that we can finally make it happen. Polydactyl builds on a lot of Noise Engineering products that came before it.”

Availability and pricing: Preorders open now. In stock in black and silver. Shipping from Noise Engineering and retailers starting August 25, 2022; Price: US$355.

Notable features:

  • 10 HP
  • Three-band stereo dynamics processing
  • Optional saturation
  • Limiting
  • Noise gating
  • Platform: many modules for the price of one
Platforms

Both modules are part of Noise Engineering’s platform concept: Tymp on the 6hp Legio platform and Polydactyl on the 10hp Versio platform. Owners of a platform module can swap between firmwares, completely free, at the Noise Engineering Customer Portal. The new firmwares will be available when the modules are shipping on August 25, 2022 so current platform owners will get to try them out at the same time. Both platforms are also built on the ElectroSmith Seed and open-source support is available through LibDaisy for customers interested in creating their own firmwares.

www.noiseengineering.us

 

ADDAC System ADDAC713

ADDAC713 Side new

ADDAC System announces its latest Eurorack module, the ADDAC713 Stereo Discrete Mixer. Inspired by Moog's legendary CP3 mixer, the 713 is a fully discrete analog mixer that is a wolf in sheep's clothing. Despite its harmless looking exterior, there is a dark, snarly soul behind the control panel that will take your sounds into a new realm of gritty, gnarly growls.

As a stereo version of the ADDAC703 discrete mixer, the new 703 was originally conceived as a percussion mixer with mono inputs and panning, allowing placement of various percussive voices in the stereo field while keeping one channel for low end sources - such as a like a kick drum or bass. However, during the development process, the module designers expanded on this initial idea, adding stereo inputs for the first three channels, while keeping the fourth channel in mono.

Functionally, the new 703 Stereo Discrete Mixer delivers both functionality and a healthy dose of sonic grit. All four Gain controls can be driven to extreme levels, and the first three channels also feature Pan controls. Meantime, the Feedback Gain control is used to overdrive the entire mix - as this control is turned clockwise, the resulting sound will be clipped harder and harder until it is off. As feedback increases, the audio bias reference also moves up - and at extreme levels it offsets the entire signal until it begins clipping, hence the resulting gate effect.

Other key controls include the The Master Output, which sets the overall output gain of the mixer - metering is provided by two LEDs which correlate to the output signal. The Soft Clipping switch engages an anti-click circuit which adds a low pass before the output. The Soft Clipping switch allows 3 states: soft low pass, off, and hard low pass.

The ADDAC703 Stereo Discrete Mixer is available now and priced at €220. Additionally, the unit will soon be made available as a full DIY kit.

www.addacsystem.com

IK Multimedia AmpliTube TONEX

IKMultimedia tonex sw mac bgblack small

IK Multimedia announces AmpliTube TONEX, a complete software ecosystem based on the powerful new AI Machine Modeling technology that lets users model their own rig and play, practice and record with thousands of already available ultra-realistic Tone Models of amps and pedals. AmpliTube TONEX ecosystem consists of 4 products.

A revolutionary concept in rig modeling, and the core of the TONEX ecosystem, TONEX for Mac/PC uses breakthrough AI Machine Modeling technology to let users model the sound of any amp, cabinet, combo or pedal (like fuzz, distortion, overdrive, EQ, booster) and turn it into a plug-in, all with ease and a sonic accuracy that's virtually indistinguishable from the real thing.

Users not only can share their user-generated Tone Models with the TONEX community, but they can also instantly play the more than 1,000 Premium Tone Models available in TONEX, painstakingly made by IK using its massive collection of the most sought-after amps and pedals in the world.

TONEX for Mac/PC works as a stand-alone and plug-in for all the major DAWs plus it's available seamlessly inside AmpliTube 5 with Tone Models appearing just like regular AmpliTube gear. TONEX has two main sections: the Machine Modeler, where the AI Machine Modeling Tone Models are captured and generated, and the Player, where the Tone Models can be searched, browsed, played and their sound customized.

The Player's extensive sound-editing section comes with full EQ, noise-gate, pre and post compressor, depth and presence controls, plus a high-quality reverb and VIR, IK's Volumetric Impulse Response technology with multi-IRs per cabinet. Thanks to AI Machine Modeling, amps and cabinets captured as Tone Models can also be separated so users can experiment with their own IRs or use IK's VIR™ technology to access hundreds of ultra-authentic virtual cabs and IRs to complete their tone. All of this customization can then be saved into a Tone Model preset.

Consistent with all major software from IK, TONEX for Mac/PC will be available in 3 versions with the same exact features, but a different number of Premium Tone Models included: TONEX SE (200 Tone Models), TONEX (400 Tone Models), TONEX MAX (1,000 Tone Models). A free version will also be available for everyone to experience the power of AI Machine Modeling for creating Tone Models.

TONEX for iPhone and iPad lets users experience the power of AI Machine Modeling Tone Models on their mobile device. It's available both as a stand-alone app or as an AU plug-in for all the major mobile DAWs and includes the same exact Player section as TONEX Mac/PC software to play, practice and record anywhere using the most authentic and hyper-realistic gear models ever made. The TONEX App and Mac/PC software Tone Model library works in sync, so any user's collection of Tone Models can be played seamlessly on any device, in the studio, at home or on the go.

TONEX Tone Models will also be available in a new dedicated section of ToneNET, IK's online tone-sharing and social platform for browsing, demoing, downloading and sharing. Over 1,000 TONEX Premium Tone Models will be available in ToneNET for instant demo or download right inside TONEX software or app, depending on the version owned. Plus, new Tone Models from IK - and free user models from the TONEX community - will be continuously posted and available in real time, for a limitless growing repository of the best tones.

TONEX standalone, plug-in and app, connect instantly to ToneNET from directly inside the software or app, allowing users to explore the latest Tone Models without breaking their creative workflow. Or, TONEX Tone Models can be experienced in ToneNET using a regular online browser and selected for subsequent download on the computer software or mobile device app.

Tone Models can be created in TONEX using a modern computer, a regular audio interface and minimal additional equipment. An interface such as AXE I/O is ideal for tone modeling with its dedicated Amp Out.

To make it easy for anyone to create Tone Models, IK's new all-in-one TONEX Capture is an accessory that connects to the output of an audio interface to feed into an amp at just the right level. Then, the return stage sits passively between an amp and cab, sending a perfect copy back to the interface at a safe volume without affecting the amp/cab interaction.

The result is a pristine copy of the amp's real tone, ready for TONEX modeling without the need for microphones and perfect room acoustics. Plus, TONEX Capture doubles also as a great reamplification device.

TONEX for Mac/PC and TONEX Capture will be shipping in September and are available for pre-order now at a special introductory price from the IK Multimedia online store and from IK authorized dealers worldwide. TONEX App will be released at the same time in the Apple Store.

www.tone.net
www.amplitube.com
www.ikmultimedia.com

Tomorrow’s Tech Revealed at AES New York 2022

AESNY 2022

AES Conventions are technology incubators. For more than seven decades, these events have been where new ideas are introduced, where experts discuss, debate and refine concepts, and where revealed science meets innovative application. It is when elite researchers, product developers and content creators gather to collaborate. Early peeks at the in-person AES New York 2022 Audio Engineering Convention’s technical program reveal that these disruptive traditions will be upheld during two full days of comprehensive sessions on October 19-20 (with targeted sessions on the 18th and related events on the 21st).

A case in point: DSP software engineers have longed to unleash GPU (Graphics Processor Unit) computing power for audio applications, though the difficulties in doing so seemed unsurmountable. In the session “Real-Time Parallel DSP Processing on GPUs,” GPU Audio co-founders Jonathan Rowden and Alexander “Sasha” Talashov will share how a new approach enables extremely low-latency GPU audio processing for uses such as multi-channel processing, cloud-based DSP, networked collaboration and the use of AI. Audio DSP developer Alexander Prokopchuk will give a practical demonstration using the FIR Convolver Reverb plug-in.

Speaking of alternative processing paradigms, in the workshop “Mixing Spatial Audio in the Game Engine,” Mirek Stiles, the head of Audio Products at Abbey Road, will walk through the recording, DAW mixing and final Unity game engine mixing process for creating a “gamified” 6 Degrees of Freedom Virtual Reality music experience. A stem mix of an “in the round” string quartet recording of a piece by film and game composer Stephen Barton will provide a proof of concept.

Can machines enhance creativity? In the session “Human Machine Creativity,” Nadine Raihani – head of UX and market research | design at Native Instruments and a producer/engineer – will be joined by iZotope associate director of engineering Caroline Lacoste for an exploration of how new and innovative assistive technology tools can unleash creativity and make music creation more accessible to everyone.

Audio application of Artificial Intelligence is a hot new field with demonstrable early results. Three PhDs combine as an amazing brain trust for the session “Moving Picture, Audio, and Data Coding by Artificial Intelligence (MPAI) – New Audio Standards Exploiting Artificial Intelligence.” Leonardo Chiariglione, the creator of the Moving Picture Experts Group (MPEG) standards development organization has founded MPAI to extend coding technologies far beyond the long-in-tooth MPEG algorithms. Chiariglione will be joined by Marina Bosi, who brings decades of coding and content management development expertise, and Mark Seligman, chief linguist at Speech Morphing, a natural language speech synthesis company working to improve human machine communication, for an exploration of the role AI plays in the standards defining what you’ll be hearing in the future.

“Discover More” at the 153rd International Audio Engineering Convention – AES New York 2022. The ultimate experience begins in NYC with the return of the unparalleled interaction of an in-person Convention. Then, on October 26-27, the online Convention event will bring its own separately curated program of workshops and papers to a world-wide audience.  AES New York 2022 event partners include Dell, IMES (Iron Mountain Entertainment Services) and Qualcomm. The Convention will once again be collocated with NAB Show New York with a shared exhibits space. Exhibits+ registration, giving access to the in-person exhibition floor and related sessions, is free during the early bird period, while full technical program registration for the in-person or online components and All Access bundles are available at early bird pricing through August 31 at the website below.

www.aesshow.com