Amptweaker SwirlPool Jr. tremolo vibe pedal

The Amptweaker SwirlPoolTM Jr Tremolo/Vibe pedal is the latest version of their popular SwirlPool, and has most of the same features shrunk down into their Jr-sized pedal platform. It uses the same all-analog circuitry, which is reminiscent of the synchronized Tremolo and Vibrato circuits common in some vintage 60’s amplifiers, and it can duplicate may other modulation tones as well as inventing some new ones!

The blended tremolo and vibrato circuits share a common LFO, and there’s a Sync switch to slide the two waveforms apart. This phase between tremolo and vibe creates all kinds of variation to the effect, from dramatic sounding synced sounds with heavy pitch-shift to swimmy out of phase tones where the tremolo and vibe sound like they’re alternating. There’s also a Surf switch that converts the harmonic pitch shift vibrato tone into more of phaser tone that’s great for all kinds of 70’s sounds that are still commonly used today.

A special footswitch circuit allows you to press/hold the footswitch to lock the SwirlPool Jr ON, and tapping the footswitch again accesses a second speed setting on the side of the pedal. There’s an internal switch that allows the second speed to kill the Tremolo for Vibe-only tones, and there’s even a trimpot to adjust ramping between the two speeds for rotary speaker tones.

As with most Amptweaker products, the SwirlPool Jr runs on 9V to 18V where 9V can create some soft compression and 18V provides the maximum clean headroom and dynamics.

Amptweaker is at Booth 2939



Electro-Harmonix introduces the Flatiron Fuzz

Electro-Harmonix announces the Flatiron Fuzz, an extremely versatile, classic op-amp powered fuzz/distortion unit housed in a pedalboard friendly, die-cast chassis. The distinctive sound of the Flatiron Fuzz is a result of its classic, late ‘70s style circuitry and the fact that it delivers symmetrical hard clipping. As a point of reference, a player might refer to the old Rat pedal.

The pedal features three controls: Volume, Drive and Filter. Volume sets the output level and Drive adjusts the amount of sustain and distortion. The unique Filter control is actually a low pass filter with a movable cut-off frequency. This lets the player dial in the precise amount of high-end they prefer, from dark to raunchy.

At lower drive settings the Flatiron Fuzz remains fairly clean and adds a pleasing, mild distortion. Turning drive up produces very dense, thick, meaty tones. As the guitar’s volume is turned down, it cleans up, but not all the way.

The Flatiron Fuzz is named after the historic Flatiron Building in New York City. It’s an iconic landmark located just down the block from EHX headquarters in the 1970s and it’s the building pictured on the pedal.

The new pedal features true bypass switching for maximum signal path integrity in bypass mode, comes equipped with a 9V battery, and accepts an optional EHX 9-volt power supply. It is available now and carries a U.S. street price of $72.70.

Electro-Harmonix announces the Sovtek Deluxe Big Muff pedal

The new Sovtek Deluxe Big Muff Pi combines the Civil War and Green Russian Big Muff signature tones with the enhanced sound shaping control of the Deluxe Big Muff in a single, integrated pedal.

EHX Founder, Mike Matthews, stated: “The Sovtek Deluxe Big Muff delivers the devastating low end, crisp highs and non-scooped mids players love in the Civil War and Tall Font Green Russian with the powerful sound shaping control of our Deluxe Big Muff.”

The Sovtek Deluxe Big Muff Pi provides:

  • MIDS EQ – Parametric MIDS EQ section with a selectable center frequency ranging from 310Hz to 5.0kHz, a level control with up to 10dB of boost or cut and a high/low Q switch that sets the resonance/bandwidth of the EQ
  • FOOTSWITCH for MIDS EQ – Dedicated on/off footswitch with status LED for the MIDS EQ circuit
  • GATE – Noise gate to remove unwanted hiss and hum
  • BLEND – Mix control for the dry and distorted signals. Enables bass players to retain their signal’s low end; also useful when layering in other distortion pedals
  • WICKER– With the switch up, high frequency bandwidth is opened up for a more pronounced attack. Switch down yields the traditional Green Russian sound.
  • EXPRESSION PEDAL INPUT – sweeps the frequency of the MIDS EQ to create wah wah and cocked wah effects
  • TRUE BYPASS – maintains signal path integrity in bypass mode

The pedal comes equipped with a 9Volt battery and will accept an optional EHX 9-volt power supply. It is available now at a U.S. Street Price of $149.00.

Electro-Harmonix introduces the Nano Battalion bass preamp and overdrive

Electro-Harmonix announces the Nano Battalion Bass Preamp and Overdrive featuring a MOSFET drive circuit that delivers a broad range of distorted tones plus a three-band EQ with three EQ position modes for greater flexibility.

The three-band EQ includes Treble (boost/cut above 1kHz) and Bass (boost/cut below 200Hz) controls, plus a Mid switch which provides a 9dB boost or cut at 500Hz. Three signal path options determine where the EQ is applied. In Distortion Mode the EQ comes after the distorted signal and has a powerful effect on its timbre while the clean signal is not affected. In Input Mode the EQ comes first in the signal path affecting both the clean and distorted signals. Boosting frequencies in this mode can drive the distortion to a more saturated state. In Dry Mode the EQ affects the clean signal, but not the distorted signal.

User-friendly controls include Volume to set the master output level, Blend to adjust the ratio between the clean and distorted signals, Drive to control the intensity and saturation of the distortion and Tone which cuts high frequencies from the distorted signal.

The Nano Battalion includes a ¼” input jack and ¼” output jack. When a normal TS cable is connected to the output jack it delivers an unbalanced signal. When a TRS cable is plugged into this jack, it outputs a balanced signal that can go directly into a mixing console or recording interface.

The Nano Battalion features all analog circuitry and comes with an EHX 9-volt power supply, is available now and features a U.S. Street Price of $117.50.

V-MODA’s new V-MAN universal object servant, shaped from a singular piece of steel, forges an instant icon of angular design

V-MODA, the award-winning manufacturer of the world’s finest high-fidelity audio devices, today announces the availability of its new V-MAN, crafted from 100% stainless steel for a minimal and sleek Milano design that is as stylish as it is functional. V-MAN is not only a headphone stand, but also, a universal object servant that fits harmoniously into any home, office or studio interior in timeless black and silver finishes.

“Iconic design has been our verve since the very beginning,” said Val Kolton, CEO of V-MODA. “In our Milano Design studio, we are empowered with our expertise in technology interwoven with continuous inspiration from the finest art, sculpture, furniture, fashion and motorsports of the world. I sketched V-MAN after a visit to the Peggy Guggenheim museum in Venezia during the VORTICISTS rebel artists exhibition. To me, V-MAN represents the essential minimalism planes of humanity in a mechanistic and futuristic pose that can serve the world and its master.”

Despite its simplicity, the V-MAN stand is a crafted design piece that makes a powerful statement in any environment influenced by the short-lived Vorticism movement, Brutalist and De Stijl design techniques and trending minimalist interiors. Being forged in stainless steel gives a more physical presence to V-MAN, balancing the sleek and evanescent side view through a discrete amount of weight and stability.

V-MAN stands out from the crowd of headphone stands on the market, which are typically limited in terms of shape, design and interaction with the headphones they are set to hold. V-MAN is an extreme representation of purpose through its shape. The design represents an iconic, simplified silhouette of a man prone on his knees offering something precious above his shoulders to his master. Its sharp geometrical form, steel build and high-end finishes, such as automotive-grade powder coating, draws inspiration from the sleek lines and edgy design of high-end, high-performance Italian automakers such as Lamborghini.

Designed by Val Kolton, V-MODA Founder & CEO, V-MAN is formed by seamless Vs sculpted from one singular piece of steel to display the headphones and protect them from scratching or collecting dust. V-MAN keeps any desk, office or home organized, while elegantly displaying V-MODA headphones, or any other brand of headsets. Its innovative design makes for a versatile shape that can be used not only as a headphone stand, but as a servant to any object, such as a smartphone, keys, tablet or even fruits such as grapes.

Availability and Pricing

V-MAN is available now in black or silver for $101 at, and authorized retailers.

V-MAN product specifications:

  • Universal object servant
  • Supports headphones of all sizes and brands
  • Milano Design
  • Made with 100% Steel
  • Size: 245 x 110 x 185mm





About V-MODA and Roland Japan

Designed in Milano, V-MODA’s verve is to amplify an authentic music lifestyle via timeless products forged by unparalleled quality, fashion-forward design and an unequivocal passion for music and materials. Led by Chief Executive Officer and professional musician Val Kolton, V-MODA blends analog renaissance age inspiration, Italian design and precise Japanese engineering. V-MODA products have won 45+ editors’ choice awards and have become essential gear for the world’s top professional DJs.


V-MODA joined forces with Roland of Japan on 808 (August 8, 2016), to redefine and develop the next breakthrough in music products and push the boundaries of audio innovation to reach a global audience of music aficionados. V-MODA and Roland do not tune headphones only as the “artists intended” but as both the “instrument engineer and artists intended.”


Visit, “like” us at and follow us on Twitter (@VMODA) and Instagram (@VMODA).

Rotosound readies new high-end string range

Iconic British string manufacturer, Rotosound, is launching a new range of high-end guitar strings sets at the forthcoming NAMM 2019 show in Anaheim, California.

Best-known for its wide range of mid-price strings, the launch of the new Ultramag sets, made with Type 52 Alloy will see the company push into the higher price-point bracket (around £15*) which will enable it to also offer much-improved margins to dealers.

The sets will initially be available in 9, 10 and 11 gauges for electric guitar. Samples will be available to test at the forthcoming NAMM Show, with a launch scheduled for February 2019.

Rotosound materials expert, John Doughty, explained the science behind the strings, saying: “With a composition of 52% Nickel and 48% iron, this highly magnetic string will certainly accentuate those middles and lows over their steel counterparts. Designed for use in the aerospace industry and high-end electronics, the low co-efficient of expansion will help maintain tuning in wide ranging environments. With its corrosion resistant properties and its unique blend of sound it is a truly a string for the discerning player seeking that extra tonal character.”

Chairman, Jason How, explained the thinking behind the move: “This is an area of the market that we have not really competed in before, but we have been working on creating the right kind of product for some time. We’re very pleased with what we now have and I believe that guitarists and dealers are going to love these strings which are well worth that small extra investment that will take their tone and margins to a new level.”

For more information on the new Ultramag range or to try them out, visit stand 4602 at NAMM Show 2019 at the Anaheim Convention Centre.

About Rotosound

Rotosound has been creating, designing and making strings for 60 years. By helping music icons like Jimi Hendrix, John Entwistle and Geddy Lee to create their amazing sounds, Rotosound strings have become synonymous with the British Tone. Renowned throughout the world, Rotosound is the home of legendary products such as Swing Bass 66 and Roto strings and is justifiably proud to be part of rock history.

Founded in 1958 by James How as a small, UK based, family-owned and operated company, Rotosound core values are little changed today. More sophisticated machines, designed and built by the late founder’s son, Jason How, still produce high quality instrument strings using only the best materials and a great team of people who really love what they do. Each string is physically and visually inspected at every stage of the manufacturing process to get maximum consistency, ensuring each one is unrivalled in tone, tuning stability and durability.

James was and Jason is a musician and engineer with vision and passion whose leadership helped Rotosound becoming one of the foremost string manufacturers in the world. Rotosound products combine musical knowledge, heritage and state of the art production methods to produce strings that bring music to life. Jason, following in his father’s footsteps, works relentlessly to invent new machines, reinvent strings and rediscover products like the Vintage Fuzz Pedal. Rotosound, whilst staying faithful to the originals, improves on them by the use of contemporary up to date technology and components such as new foil packaging, which ensures strings reach customers as fresh as the day they leave the factory.

Now sold in more than 80 countries across the globe, Rotosound strings are not only used by some of the greatest guitarists and bassists, but continue to attract the best of the current and up and coming musicians. Rotosound strings have played a large part in the history of rock music and the company plans to continue drawing on this rich legacy to continue being a major influence for decades to come.

XILS-lab updates ultimate matrix modular soft synth with welcomed fanciful features added to XILS 4 v1.5

Audio software company XILS-lab is proud to announce availability of XILS 4 v1.5 — a major update to its self-styled ultimate matrix modular soft synth, effectively emulating a conceptual ‘blend’ of the legendary VCS4, a ‘dual VCS3’ analogue matrix modular synthesizer prototyped by British trailblazing entity EMS (Electronic Music Studios) back in 1969 but never commercially released, with pioneering British synthesist Tim Blake’s so-called ‘Crystal Machine’ (comprising two EMS Synthi AKS analogue matrix modular synthesizers with hard sync between their oscillators, one connected to the keyboard and the other connected to the sequencer) — with welcomed additional fanciful features including a powerful preset manager in a single window and new effects with semi-modular routing, as of November 30…

Historically, XILS-lab’s self-styled ultimate matrix modular soft synth creatively combines two XILS 3 soft synths; indeed, its earlier, critically-acclaimed release represents an authentic-sounding software recreation of the groundbreaking late-Sixties-vintage EMS VCS3 analogue matrix modular synthesizer, scaled up to also emulate EMS’ early-Seventies-vintage Synthi Sequencer 256, but boasting even more matrix connections than the original hardware that inspired it! In order to gain an appreciation of the sheer scope of XILS 4, understanding the origins of its smaller software sibling is in order; so let us journey, briefly, back in time, then… to 1969.

The British-built EMS VCS3 — or Electronic Music Studios Voltage Controlled Studio #3 to give it its full appellation (also affectionately known as ‘The Putney’ — after company founder Peter Zinovieff’s original pioneering electronic music studio location in the leafy London suburb — and, somewhat confusingly, ‘The Synthi’ — after its later SYNTHI VCS3 II incarnation) — made musical history upon its 1969 introduction as the first commercially portable synthesizer available anywhere in the world. Its innovative modular matrix-based patchboard dispensed with the telephone exchange-like cabling of other (much larger) modular systems in favour of making connections with (removable) coloured pins, so it could be comfortably housed in a small wooden (solid afrormosia) cabinet. Clearly distinctive in both its physics laboratory test equipment-lookalike looks and strange-sounding sound effects, the VCS3 quickly found favour with the more experimental leading lights of the day, including the BBC Radiophonic Workshop (think Dr Who), Brian Eno (with Roxy Music), Jean-Michel Jarre, and Pink Floyd, to name but a few first-generation famous users. Ultimately, thanks to Peter Zinovieff’s visionary synth wizardry, patch-building became a whole lot easier with more inputs and outputs to boot, and no more roadies (necessarily) needed!

Needless to say, time and tide waits for no man (and no synth), so technology’s inexorable march onwards inevitably saw the venerable VCS3 washed away as a wave of powerful programmable American analogue polysynths took hold, opening the technological floodgates to the tsunami of more mainstream (and affordable) digital developments that ultimately changed the course of music making forever.

Fortunately for some, what goes around often comes around; today those strange sounds are sought after again and new VCS3s are available to custom order from a former EMS employee — albeit at a premium price tag with a predictably distant delivery date; mere musical mortals, meanwhile, have XILS-lab to thank for its cost-conscious and award-winning XILS 3 soft synth successfully taking the emulated essence of the late-Sixties-vintage VCS3 and associated early-Seventies-vintage Synthi Sequencer 256, transporting them to modern-day DAW-driven workflow with all the recallable benefits that brings with it. It is little wonder that XILS 3 proved popular with both first-time buyers beginning an intriguingly in-depth journey into the wonderful world of modular synthesis and also seasoned synthesists, such as renowned sound designer Richard Devine and original VCS3 aficionado Tim Blake (Hawkwind), as well as Peter Zinovieff himself, who kindly commented, “A great step forward!”

Fast-forwarding to today, thanks to constructive conversations with both Peter Zinovieff about EMS’ fabled fusion of two VCS3s to produce the prototyped VCS4 and pioneering British synthesist Tim Blake about his so-called ‘Crystal Machine’ (comprising two EMS Synthi AKS analogue matrix modular synthesizers, with hard sync between their oscillators, one connected to the keyboard and the other connected to the sequencer), which resulted in XILS-lab’s self-styled XILS 4 ultimate matrix modular soft synth — subsequently reaping the benefits of a high-profile namecheck by French electronic music pioneer par excellence Jean-Michel Jarre as one of his favourite plug-ins, XILS 4 v1.5 takes that conceptual ‘blend’ to its current contemporary conclusion, courtesy of the New Preset Manager (NPM) being implemented alongside an additional natural-sounding reverb, new effects with semi-modular routing, second independent keyboard, and self-explanatory BAL L-R (balance between left and right synthesizer module) knob.

Needless to say, that NPM implementation is a major step forward in the evolution of XILS 4, allowing users to easily and speedily perform different tasks with welcomed visual feedback — for example, locate and load the most suitable preset in seconds via a multi-criteria search engine, save/save as presets with (user-generated) tags, batch-tag multiple selections of presets, export/import multiple selections of presets, and select view (such as showing only favourite presets or hiding unwanted presets). In adding a natural-sounding reverb to XILS 4 v1.5, XILS-lab also took the opportunity to totally revamp its Effects Block, so users can now route any effect in any order, and also choose to process only the left or right synthesizer module with any available effect; in short, while previous versions offered only one instance of fixed effect routing, now dozens of possibilities are available — adding reverb on the chorus (or vice versa) or processing the left synthesizer module with reverb and the right synthesizer module with delay and phaser, for example. Elsewhere, the second keyboard opens up XILS 4 to the possibilities of split patches or layering the two synth engines to only one part of the keyboard.

Accomplished additions apart, XILS 4’s (online-viewable) full feature list is impressive as it comes — cue 12 aliasing-free oscillators, grouped in six pairs across two synthesizer modules, with wave shaping and hard sync, plus two additional noise generators, and two (virtual) analogue multimode filters, each with non-linear and zero-delay behaviour and three different (12/18/24 dB) modes… just for starters. Simply said, those already fanciful features really represent only the tip of the inspirational iceberg, so-to-speak… just ask Jean-Michel Jarre about its pin matrix magic, for what it’s worth! With up to 1,140 simultaneous connections per patch, perhaps it is all the more understandable that he said, “… it is one of the best soft synths on the market for experimenting with new ways of creating sounds!”

XILS 4 v1.5 is available to purchase as a USB eLicenser or iLok (1 and 2 dongle hardware or software) protected plug-in at an introductory promo price of €99.00 EUR until December 10, 2018 — rising thereafter to an MSRP of €179.00 EUR — from XILS-lab here: (Note that XILS 4 v1.5 is free for owners of all earlier versions of XILS 4.)

XILS 4 v1.5 can be directly downloaded as a multi-format (AAX, AU, RTAS, VST), 32- and 64-bit soft synth and virtual effects plug-in for Mac (OS X 10.7 and later) and Windows (XP, 7, 8, 10) from here:

About XILS-lab (

Based in Grenoble, France, XILS-lab is an audio software company, created and managed by Xavier Oudin. Having created some of the best known virtual instruments and effects plug-ins on the market for various companies over the last 20 years, today he focuses on bringing his passion for audio, instruments, and music to bear on his own company.Working with highly-skilled professional musicians and sound designers, the company collectively believes that a virtual instrument or effect is not simply a series of mind-boggling mathematical algorithms designed and scrutinised over by bookish PhD engineers but rather a useful and useable musical tool made for musicians. Moreover, XILS-lab loves to create virtual instruments and effects that inspire its users to create more imaginative music than they ever dreamed possible!

© 2018 XILS-lab

FabFilter releases FabFilter Pro-Q 3 equalizer plug-in with dynamic EQ

FabFilter is proud to announce the availability of FabFilter Pro-Q 3, a major update to the acclaimed Pro-Q equalizer plug-in. Pro-Q 3 improves on its predecessor in every area, introducing dynamic EQ, surround support, per-band mid/side processing, and much more, while maintaining the pristine sound quality and exceptional ease of use for which Pro-Q has always been known.

Integrated dynamic EQ

Pro-Q 3 adds the ability to switch any of its 24 bands to Dynamic EQ mode, with a simple, elegant workflow: just raise or lower the Dynamic Range ring around the Gain knob to apply smooth compression or expansion to that band. An intelligent algorithm automatically chooses program-dependent attack, release, and knee settings, while the Threshold can be set automatically, according to the input signal level, or manually. And, of course, dynamic EQ bands continue to operate with perfect analog matching and support Linear Phase mode.

Surround support

Pro-Q 3 works with all major surround formats, up to Dolby Atmos 7.1.2. The plug-in automatically configures itself to the multichannel format of the hosting surround track, and an intuitive selection panel enables EQ adjustment of multiple channels together.

Mid/side processing

Pro-Q has long been able to work its equalization magic on the mid or side channels in a stereo signal, as well as left and right, and this functionality becomes even more flexible with Pro-Q 3. Each individual band can now be set to process only the Mid, Side, Left, Right, or Stereo channels, so users can get truly surgical with their stereo frequency-shaping on a band-by-band basis.

New filter types

Pro-Q 3 adds to Pro-Q 2’s multitude of filter types with the all-new Flat Tilt shape, applying a flat tilting correction curve to the entire audible spectrum. And for those occasions when even the super-steep 96dB/ octave roll-off slope isn’t precise enough, the Low and High Cut filter types can now be set to Brickwall mode for the ultimate in top/bottom attenuation.

Pro-Q 3’s spectrum analyzer makes it easier than ever to find and correct problem frequencies in the mix. Activate the new collision detection to view clashes between the source signal and the spectrum of any other Pro-Q 3 instance in the session, and get an instant handle on the most important peaks in Spectrum Grab mode with frequency/note labels.

Key features:

  • Professional mastering-grade EQ plug-in with exceptional sound quality
  • Up to 24 bands with a huge range of filter types
  • Dynamic EQ option for every band
  • 6-96dB/octave slopes for all filter types
  • Additional Brickwall slope for the High Cut and Low Cut filters
  • Per-band Stereo, Left, Right, Mid, or Side mode
  • Zero Latency, Natural Phase, and Linear Phase processing modes
  • Extremely efficient processing and low memory usage
  • Surround support, including Dolby Atmos 7.0.2 and 7.1.2 formats with flexible surround channel linking
  • Adapts automatically to stereo, mono, and surround channel layouts
  • Intelligent multiband selection and editing
  • Intelligent band solo mode
  • Powerful real-time spectrum analyzer
  • External spectrum visualization from any other Pro-Q 3 instance in the session, including collision detection
  • Spectrum Grab: grab and adjust a peak directly in the spectrum analyzer
  • EQ Match for imposing the tonal characteristics of one signal on another
  • Piano Display switches the frequency scale to musical note values
  • Separate mastering (3/6dB) and mixing (12/30dB) display ranges
  • Undo/redo and A/B comparison
  • Beautiful, responsive, resizable GPU-accelerated graphical interface with full-screen mode
  • MIDI Learn with option to control the currently active band
  • Retina support on macOS and High DPI support on Windows
  • Supports common Pro Tools hardware control surfaces

FabFilter Pro-Q 3 is now available for EUR 149, USD 179 or GBP 134, supporting both Windows and macOS in VST and VST 3, Audio Units, AAX, and AudioSuite plug-in formats. Bundles with FabFilter Pro-Q 3 and other FabFilter plug-ins are also available at:

Existing FabFilter customers can purchase or upgrade to FabFilter Pro-Q 3 with very attractive discounts by logging into their online user account at:

System requirements are either Windows 10, 8, 7, Vista, or XP, and a VST 2/3 host or Pro Tools, or Mac OS X 10.8 or higher with Intel processor, and an Audio Units host, VST 2/3 host, or Pro Tools. Both 64-bit and 32-bit hosts are supported.

Evaluation copies are available at:

About FabFilter

Beautiful sound. Fantastic workflow. These are the foundations of FabFilter. Continually challenging and rethinking industry standards, FabFilter creates powerful audio plug-ins with superb sound quality and innovative interfaces. FabFilter was founded in 2002 by Frederik Slijkerman and Floris Klinkert, and is based in Amsterdam, The Netherlands.

© 2018 FabFilter Software Instruments

Zero-G release Nordic Noir – A substantial cinematic crime, drama and action sample library with 20% intro discount!

Created by renowned soundtrack composer Davor Devcic, Nordic Noir is a substantial new 3Gb Cinematic Crime, Drama & Action sample library from Zero-G based on, and calling to mind, the great soundtracks from that bleak and beautiful cinematic and TV genre. The sounds from the 32 construction kits have been cleverly created so that they can be interwoven and combined in innumerable ways. There are also extra pads, drum loops, piano and synths.

“I wanted to use my experience working with directors, producers and music supervisors for TV and movies to give you a toolbox of sounds to fit any mood and atmosphere. This library has been created predominantly for motion pictures, so the audio format is 48KHZ/24bit. The samples work in various tempos and the ability to mute and unmute elements of the construction kits allows for a multitude of variables. You will be surprised how you can alter the mood of your composition just by doing those simple tweaks. Be creative – let this library be a good start for your next blockbuster or award-winning TV series.” – Davor Devcic, Producer and Author

What you get…

250 Acidized WAV files

250 AIFF Apple Loops

44 Kontakt Instruments

44 EXS24 Instruments

44 HALion Instruments

44 NN-XT Instruments

Nordic Noir is the perfect example of the atmospheric and downbeat music accompanying some of film and TV drama’s most artfully staged scenes of murder, suspense, heartbreak and deceit and it’s available now with a 20% intro discount until 12th December 2018!

For full product details and audio demos visit:

Avid Pro Tools now includes UVI Falcon delivering powerful creative hybrid instrument and high quality sound

Avid® (Nasdaq: AVID), the leading technology provider that powers the media and entertainment industry, today announced an alliance with software instrument developer UVI to deliver powerful virtual instruments and an exclusive sound library to all Pro Tools users. UVI’s acclaimed hybrid virtual instrument Falcon and the exclusive Plugsound Avid Edition sound library (a combined $498 value) are now included with Pro Tools® and Pro Tools | Ultimate at no additional cost. The free UVI Workstation 3 plug-in and the exclusive Plugsound Avid Edition sound library is available for Pro Tools | First users.

The creative experience of Pro Tools is more intuitive and immediate, with numerous features introduced in the latest release designed to enable fast and fluid creativity. With UVI’s virtual instruments, music creators and sound designers now have more choices from which to draw inspiration and create their own sound.

UVI develops software instruments, effects, and sound libraries that give musicians and audio professionals unique, expressive tools to create their sound. With UVI Falcon, users can generate sounds quickly with drag-and-drop ease and design complex patches with a multitude of modifiable parameters—including 15 state-of-the-art oscillators, over 80 effects, modulation generators, a scriptable event processor, and more.  Available on the Avid Marketplace, both Falcon and the UVI Workstation can be augmented with high-quality expansion sound libraries.

These sound libraries are included with the following Pro Tools tiers:

  • Plugsound Avid Edition (included with all Pro Tools tiers)a fantastic-sounding 2.6 GB sample library that is exclusive to Avid — loaded with keyboard sounds, synthesized sounds, drums and percussion, fretted instruments, and more.
  • Falcon Factory Sounds (included with Pro Tools & Pro Tools | Ultimate only) – a high-quality, versatile library developed by some of the world’s most well-known and respected sound designers –– from classic synths, percussion, and physical modeling, to sample-driven, multi-granular soundscapes and multi-oscillator hybrids.

“UVI’s Falcon is one of the most extensive and thorough hybrid virtual instruments I’ve tried,” said composer and pianist Greg Spero (Tiny Room Studios), who creates with UVI Falcon in Pro Tools | Ultimate. “I could write a whole album using entirely UVI sounds.”

“UVI Falcon together with Pro Tools provides artists a unique combination of versatility and clarity of sound to deliver unmatched capabilities and lightning fast results, allowing artists to create new music quickly,” said Thomas Joussot, UVI Partner & Artist Relations. “The ability to use UVI Falcon’s unique functions together with Pro Tools is a winning combination and is sure to unlock new levels in the imagination of what is truly possible.”

“For musical artists, the ability to quickly bring ideas from their imagination into the track is vital to success,” said Rob D’Amico, Director, Market Solutions | Pro Audio at Avid. “Avid is continuously advancing Pro Tools’ music creation capabilities and this partnership with UVI will give users another gateway to tap into their creativity, allowing them to take whatever sound they hear in their minds and quickly make it a reality. The possibilities are endless.”

Experience Avid at The NAMM Show

Avid will showcase UVI’s Falcon creative capabilities within Pro Tools at The NAMM Show (North hall, level 1, booth #15502). Taking place from January 24-27, 2019 at Anaheim Convention Center, Anaheim, Calif., The NAMM Show is the world’s largest trade-only event for music, sound and event technology professionals. Through hands-on demonstrations and stage presentations by creative luminaries, visitors to Avid will experience workflows for music creation, notation, audio post and live sound.

For more information, visit

About Avid

Avid delivers the most open and efficient media platform, connecting content creation with collaboration, asset protection, distribution, and consumption. Avid’s preeminent customer community uses Avid’s comprehensive tools and workflow solutions to create, distribute and monetize the most watched, loved and listened to media in the world—from prestigious and award-winning feature films to popular television shows, news programs and televised sporting events, and celebrated music recordings and live concerts. With the most flexible deployment and pricing options, Avid’s industry-leading solutions include Media Composer®, Pro Tools®, Avid NEXIS®, MediaCentral®, iNEWS®, AirSpeed®, Sibelius®, Avid VENUE™, FastServe®, Maestro™, and PlayMaker™. For more information about Avid solutions and services, visit, connect with Avid on FacebookInstagram,TwitterYouTubeLinkedIn, or subscribe to Avid Blogs.