Celestion introduces the new Orange Amps impulse responses

Celestion, the premier manufacturer of guitar and bass loudspeakers whose classic guitar tones have made the company famous as the voice of rock and roll, is pleased to announce their new line of  Orange Amps Impulse Responses. The latest in the company’s Backline Heros range of IRs, Celestion has teamed up with Orange to create this line for guitarists, musicians and producers who want to quickly replicate the authentic Orange cabinet tone live, in the studio or at home. The new Orange Amps IRs are available for audition and download at CelestionPlus.

The New Orange Amps collection of IRs have been created based upon seven of Orange’s best-selling cabinets. The collection includes: Orange PPC112 1×12 closed back – Vintage 30; Orange PPC212OB 2×12 open back – Vintage 30; Orange PPC212 2×12 closed back – Vintage 30; Orange PP212V 2×12 open back – Neo Creamback; .Orange PPC412 4×12 classic – Vintage 30;  Orange PPC412AD 4×12 angled – Vintage 30 and Orange PPC412HP8 4×12 – G12K-100.

As with all Celestion genuine Impulse Response collections, the Orange Amp IRs have been captured by expert engineers in a state-of-the-art recording studio, using a range of professional studio microphones in the same six positions as all IRs to offer a variety of options — Balanced, Bright, Thin, Fat, Dark and Dark 2, as well as an additional rear mic for the open back cabinets.

Available for download in .WAV format, the Orange Amps IRs can be installed and used on the same huge range of DAWs or amp-modelling gear in just the same way as existing Celestion IRs. Each are available for download individually, or as a part of a collection. The Celestion Pick & Mix option allows customers to select combinations of either 3 or 5 cabinets from the company’s full range of original IRs, offering flexibility in building a personal IR library at a significant savings compared to purchasing individual IRs.

The Orange Amps Impulse Responses join the acclaimed guitar speaker IRs in the impressive Celestion collection available at CelestionPlus, including A-TypeBass Impulse Responses (PULSE10 and PULSE15,) Celestion BlueCelestion Cream, Celestion Gold,Classic Lead 80, Heritage G12H 55Hz, Heritage G12M, G12K-100, G12-35XC G12T-75G12-50GL Lynchback,   G12-H150 Redback, G12M Greenback, G12M-65 Creamback,G12M-75 Creamback, G12H Anniversary, G12-65, Neo Creamback, V-TypeVintage 30 and other classic models.

About Orange Amps

Founded in London in 1968 by musician and electronics designer Clifford Cooper, Orange Amps have been cementing their place in music history for more than 50 years.
Clifford understood the rigours music equipment was subjected to on the road with touring musicians and was instrumental in ensuring that durability was at the forefront of Orange’s cabinet design. His range of cabinets were constructed with sturdy 15 and 18mm birch plywood and featured thick basketweave grille clothe, as well as the addition of two unique skid runners on their bases which improved low-end responsiveness by acoustically coupling the cabinets to the stage. Orange’s superior build-quality meant the cabs quickly became the go-to gear for rock legends, such as Led Zeppelin’s Jimmy Page, Fleetwood Mac’s Jeremy Spencer and John McVie, Grateful Dead’s Bob Weir, as well as Jim Root and Noel Gallagher, and many others. Orange’s product list has grown and evolved over the last half century to include a huge range amps, cabs, pedals and guitar and bass accessories.

About Celestion Impulse Responses

Celestion IRs, which capture the essential behavior of the cabinet in the specific space in which it was recorded, including the frequency and phase response of single drivers as well as the interaction of multiple speakers, offer the user significant benefits. In both recording and live production, Celestion IRs enable the desired tone to be precisely and consistently reproduced regardless of the music recording or live sound environment. And IR users can escape the limitations of a single mic and cabinet setup and explore a universe of possibilities to create the perfect tone. Once you find a tone that you love, it can be precisely recreated, in the studio or on the road, time after time. And the IRs allow Celestion customers to audition specific models before purchasing one or more physical speakers.

Celestion IR digital downloads are available in uncompressed, industry standard .WAV format at 44.1 kHz, 48 kHz, 88.2 kHz and 96 kHz sample rates at 24 bit depth, in lengths of 200 and 500 milliseconds Once the files are downloaded and unzipped, users simply load the IRs into a convolution plug-in in their DAW or into other processing hardware. These formats will work in all known hardware capable of loading IRs, and for the most popular hardware Celestion have already grouped together the correct formats. Guitar processor manufacturers supported include Atomic Amps, Fractal Audio Systems, Kemper, Line 6, Logidy, Positive Grid, Two Notes, Headrush and Yamaha. The Celestion IR files may be downloaded in the sample rate and length appropriate for the hardware being used or as a complete package of all rates and lengths. Certain third party hardware requires the files to be converted into a proprietary format before use.
Celestion Plus.

About Celestion and Celestion Guitar Speakers

An important element to essential British guitar tone since the birth of Rock & Roll, Celestion Guitar Speakers are famous for their lively and vocal midrange character with plenty of sparkle and chime. With worldwide headquarters in Ipswich, England, Celestion design, develop and manufacture premium guitar and bass loudspeakers, and high-quality professional audio drivers for sound reinforcement. These world-renowned speakers are used onstage and in clubs, theatres and other venues the world over. Contact Celestion at:info@celestion.com and visit us on Facebook at www.facebook.com/celestion.

Amped Studio release seven new devices

Amped Studio, the online beat making software, just released a major update with seven new devices, a video tutorial page and some general design improvements as they continue their mission to take online music making to higher level. The latest update includes 3 free effects: BitCrusher, CompressorMini and LimiterMini and 4 devices included with a premium subscription: Distortion, Compression, Gate and Expander.

Crush & Distort

Distortion and BitCrusher are two great new effects for sound mangling and coloration. BitCrusher is a free effect and is available for all users. Distortion is a Premium effect offering plenty of character to anything you throw it on! With eleven different distortion modes it can do anything from subtle saturation to aggressive destruction.

Dynamic Power

Four new Premium dynamic effects Compressor, Limiter, Gate and Expander are great for any mixing situation. The new video tutorial page has separate videos explaining how use and understand each effect. Compressor Mini, offers a one knob control to glue or squash wherever needed.

Amped Studio 2.1

The Amped Studio website was also updated with a new studio manual, improved navigation and videos to help you get started. Amped Studio is free and costs only $4.99 a month ($49.99 a year) to get access to the premium devices, sound library and expanded audio options. Other Amped Studio features include Pitch to Midi technology, WAM support (cloud based VSTs) and an array of instruments and effects to help you develop your music production skills. For more information or to give Amped Studio a try go to https://ampedstudio.com and discover your sound.

New classic fuzz kit from BYOC

We designed this to be extremely easy for beginners to build, yet sonically pleasing to even the most discriminating fuzz connoisseur.  The BYOC Classic Fuzz is a silicon transistor fuzz based on the incredibly simple Dallas Arbiter Fuzz Face circuit.  We added a few minor “common sense” modifications to improve upon the original circuit, such as power filtering to reduce noise and add a tiny bit of voltage sag, an input resistor to help with overloading from hot pickups and to allow it to clean up nicely with your guitar’s volume knob, and reduction of high frequency shrillness that comes from silicon transistors.

This gives the BYOC Classic Fuzz all the added gain and sustain of Silicon transistors, but the warmth and characteristics of Germanium transistors.  The addition of the BIAS knob and FULL/THIN/FAT switch modifications expand the range of tones from just your standard classic fuzz to weird, nasty, smooth, sustaining, gated, and just sheer fun-to-play fuzz joy.  Starting at $54.99 for the basic kit.  $64.99 for the kit shown with gold powder coat and silk screen print.

Click here for more info and to watch the demo video.

Start Shopping

Antelope Audio announces availability of world’s first bus-powered modeling microphone as Edge Go globally ships

Having turned heads and opened ears with a show-stopping showcase at The 2019 NAMM Show in Southern California, January 24-27, trailblazing pro audio manufacturer Antelope Audio is proud to announce availability of Edge Go. As the world’s first bus-powered modeling microphone, it is a studio-in-a-mic magical experience like no other with circuit-level microphone and expertly-crafted effects emulations aboard Antelope Audio’s real-time FPGA FX platform.

Antelope Audio’s all-new Edge Go is a studio-grade, large-diaphragm condenser USB microphone that provides producers, travelling musicians, podcasters, music vloggers, and tech reviewers with unprecedented access to Antelope Audio’s industry-leading microphone-modeling technology. The question is: what would recordings sound like with access to a locker-full of classic vintage microphones? And, as if by magic, Antelope Audio answers with Edge Go, unlocking precise software emulations of many of the world’s most iconic mics and studio effects processors. Plug the USB-equipped Edge Go directly into a Mac or PC, launch the included Edge Go software application, and simply start the recording ball rolling!

Reality shows that Edge Go is a studio-in-a-mic magical experience like no other. By being built to Antelope Audio’s exacting specifications, with the same dual-diaphragm capsules featured in the company’s cutting-edge Edge Duo condenser microphone, Edge Go gives its users a USB-C output for conveniently recording directly to their computer — no need for an external preamp, mixer, or audio interface. Indeed, Edge Go functions as an audio interface in its own right, offering pristine A/D conversion with up to 192 kHz/24-bit resolution — far higher than a typical USB mic musters. Meanwhile, in the wider world of pro audio, Antelope Audio is known for building high-end, analog-to-digital converters and super- accurate digital clocks found in world-class recording studios and broadcast facilities; furthermore, Edge Go gainfully draws upon this excellent engineering pedigree to provide Antelope Audio sound quality in a go-anywhere, bus-powered modeling microphone.

Edge Go comes complete with the Edge Go control panel software, so users can instantly audition and compare 11 expertly-crafted emulations modeled on time-tested studio microphones making their musical mark on thousands of hit recordings. From fat-sounding tube mics (like the Tokyo 800T, Berlin 49T, Berlin 67, and Vienna 12) through to crisp FET condensers (like the Berlin 87, Berlin M103, Berlin 47 FT, and Vienna 414) and beyond into the realms of smooth ribbons (like the Sacramento 121R and Oxford 4038)… simply select the mic in question, then dial in the pickup pattern needed — omnidirectional, cardioid, bidirectional, figure-8, and everything in-between. Antelope Audio’s software models meticulously emulate the distinctive character of each iconic microphone — effectively allowing access to an awesome mic collection. Conversely, users can choose to record through the Edge Go microphone with no mic emulation applied for a transparent, flat 20 Hz – 20 kHz large-diaphragm sound.

Software magic far from finishes with Antelope Audio’s microphone modeling since Edge Go also allows access to a killer collection of 22 effects modeled on classic studio gear. These collectively cover all bases with must-have preamps, dynamics processors (including limiters, compressors, gates, and expanders), and a de-esser — namely, PowerGate, PowerEx, VEQ-1A, VEQ-HLF, BAE-1073, VEQ-55A, Lang-PEQ2, VEQ-4K BLACK, Master De-esser, BA-6A, FET-A76, VCA160, Liverpool, Stay-Levin, ALT-436C, Gyratec IX, VPA 76, BAE-1073MP, RD-47, and BA-31 — alongside Antelope Audio’s AuraVerb. The latter features six reverb types to assist with dialling in the right ambiance, ranging from barely-there atmosphere right the way through to epic echoes. Edge Go generously includes Reel to Reel, a reel-to-reel tape effect to give recordings a distinctively vintage vibe, helpfully. Help is at hand, fortunately, for those users who are not sure where to start, since the Edge Go software supplies one-click access to aptly-named presets like Telephone Effect, Massive Reverb Space, Fan Noise Reduction, and many more, meaning users can quickly nail the sound in their head and get going. Getting creative and building the effects chain of their dreams, then saving it as a preset, means that inspiration is only ever a click away.

All the processing power needed to run Antelope Audio’s awesome-sounding mic emulations and effects models is built right into the Edge Go microphone’s hardware in the form of a dedicated FPGA (Field Programmable Gate Array) chip. So there’s no need to bog down a DAW (Digital Audio Workstation) with effects processing plug-ins, sap a computer’s limited CPU (Central Processing Unit) power, or buy an external DSP (Digital Signal Processing) accelerator or audio interface. Indeed, Antelope Audio is an industry-leader when it comes to harnessing the power of FPGA chips for real-time processing — and all that power is now available to anyone armed with an Edge Go microphone.

Antelope Audio’s all-new Edge Go microphone comes packed in a road-ready hard case with a heavy-duty shock mount, a professional metal mesh pop filter, an adjustable-angle desktop mic stand with a sturdy non-slip base, and a USB-C to USB-A cable. There’s even a 1/8-inch headphone jack right there on the Edge Go microphone’s body for easy zero-latency monitoring. Add a favourite pair of headphones, a USB input- equipped computer, and audio software of choice, and everything needed to start recording is all at hand.

Edge Go is now available for purchase through Antelope Audio’s growing global network of authorized dealers (https://en.antelopeaudio.com/dealers/) or order online directly from Antelope Audio via the dedicated Edge Go webpage (https://en.antelopeaudio.com/products/edge-go/), which also includes more in-depth information.

Watch Antelope Audio’s cutting-edge Edge Go modeling microphone promo video here: https://youtu.be/BqXOvrDFY0Q

About Antelope Audio (www.antelopeaudio.com)

Antelope Audio is a leading manufacturer of high-end professional audio equipment. Founded in 2004 and reinventing the industry with its flawless master clock technologies and versatile multi-channel interface solutions, the company has been steadily expanding its portfolio over the years under the guidance of visionary engineer and CEO Igor Levin. Antelope Audio’s products offer the best of both analog and digital technologies. Among its most recent innovations are compact interfaces with discrete mic pres, FPGA-based FX plug-ins for all DAWs, and next-generation modeling microphones.These are distributed through Antelope Audio offices in Europe, the Americas, and Asia, and highly acclaimed by users all over the world.The company’s customers include GRAMMY® award-winning sound engineers, top-tier producers, world-class artists, and some of the most renowned, recording, mastering, and post-production facilities around the globe.

© 2019 Antelope Audio

Amber3 now available – The sound of elegance

Get Amber3

Elegance = Simplicity + Symmetry.

Amber3 AU/VST/AAX plugin suite offers an accurate reproduction of an original, pure Class A optical compressor, a redesigned iconic EQ and preamp section. In designing Amber3, we aimed at achieving total sound purity and depth, achieved through the use of Class A discrete solid-state circuitry, as well as a thoughtful mixture of active and passive filter cells, absence of any DC-blocking capacitors on the signal path and more.

  • If you already own Amber, update it now for free inside Aquarius.
  • If you are looking for a new, powerful processor for your studio, get Amber3 now for just €129 (reg. €189) and save over 30%!*

*Limited time only!

The new Amber Compressor looks and sounds the business. Make your tracks effortlessly sit in the mix. Glue everything together in the most musical way possible, without ever leaving your DAW.

Amber EQ is designed to deliver extreme musicality. It is available in mono or stereo configurations, making it perfect for use on subgroups or in mastering applications.

Amber3 features a brand new creative control called ‘Shine’, which allows you to go smoothly from a shelf filter to peak, for very interesting and unusual results. Have fun!


The free update is reserved to current Amber owners only, who can download the full product via our Aquarius product manager. Please note that Amber3 can coexist with older versions of Amber but it is a completely new product with a new plugin ID. This means your sequencer will not overwrite older version but will list the new plugins along with the older.

Older Amber trial versions are now obsolete and will not work anymore, even with a valid authorisation. DO NOT use trial products for commercial sessions. Acustica is not liable for any damage or loss of data due to incompatibility with older sessions.

Although Acustica Audio strives to provide accurate product and pricing information, unintentional pricing or typographical errors may occur. Prices are shown in EUR and include local VAT for UE citizens following UE MOSS regulations. Acustica reserves the right to correct, change or update information such as pricing, availability and product descriptions, at any time without previous notice. All promotions, including Black Friday and Cyber Monday are valid for a limited time only and are not retroactive. Discount Coupons and personal codes are not applicable to product bundles, collections, and are not valid for educational purposes. All digital sales are final and no sale shall be invalidated. All purchased products are downloadable via our download manager Aquarius, which can be obtained by registering an account on the Acustica Audio website and downloading the application on your computer.

K-Devices releases WOV and TTAP new Phoenix series for VST and AU

K-Devices, an innovative developer of music software tools, has released WOV and TTAP, new plug-ins for the VST/VST3/AU/AAX formats. These Plug-ins are K-Devices first of a new series of creative audio effects with DSP referred to as the Phoenix series and are available in new formats. This new series also introduces a new GUI design philosophy to streamline the creative process and encourage experimentation beyond the original DSP intent.

WOV is the evolution of the WOV Pedal we previously designed for the MOD Duo. It is a deeply creative tool that will bring an arsenal of complex amplitude modulation features to a wide variety of source and musical styles.

WOV started as a tremolo (and it is a great one), but it now comes with parameters to handle modulation in even more creative ways, becoming a complex texture maker, able to go from warm guitar-like tremolo modulations to quasi grains processing, to complex trance gate patterns, and more.

The Response parameter lets incoming audio increase/decrease the Modulation Rate, creating dynamic time fluctuations. The combination of the parameters Wave, Peak, and Warp, shape the modulator waveform in a flexible and easy way, giving a wide range of possible results.

The Accents multi-slider adjusts amplitude for each modulator cycle (range 2-8 steps), creating complex patterns. A Stereo Mode, when enabled, affects several parameters: Silence, Response, and Multislider, giving exclusive per channel processing, for wider stereo results.

Aleatory elements introduce chance into the process of creation. Silence allows the chance of getting silent modulation cycles while altering the Variation parameter introduces instability and unpredictable variations in the modulation.

TTAP is a delay effect with a set of creative features to process the delayed signal. Its unusual structure lets the user/musician easily achieve classic as well as highly unusual delay results.

TTAP’s signal passes through two buffers, which can be independently processed and further delayed. An exclusive, highly shapeable Amplitude Envelope is available for each buffer. Each buffer can be independently played in reverse mode as well.

The relationship between buffers is handled by the parameters Gap and Balance. The Gap setting is an additional delay value for a second buffer, and Balance sets the amplitude ratio between the buffers. This simple but powerful combination of two features lets the user obtain delayed accents that, if reiterated through Feedback, give a reverberation of patterns far beyond the usual delay effect concept.

Besides Delay Time, a core parameter of TTAP is the time value called Section. This adjusts the time resolution that the buffers’ manipulation features are based on (amplitude envelope length, second buffer max delay, time resolution for aleatory stereo Spread and Repeat, and more). This allows all parameters to be changed simultaneously.

The Repeat parameter sets the chance to repeat the current buffer instead of overwriting it with the new incoming signal, creating semi-aleatory glitch results, up to a complete freeze effect. The Bend parameters section simulates a non-linear playhead resulting in exponential or logarithmic reading of the buffer.

Graphic Interface

With this new Phoenix series of plug-ins, we have introduced a new design philosophy of limiting the use of textual labels, replacing them with iconic symbols. These symbols will be used on future effects of the Phoenix series with the hope that they will become more and more familiar to the user, like a language. A toggle at the bottom right corner lets the user replace symbols with classic textual labels if desired.

In addition, the user will not see numeric values by default. This is done to encourage using your ears as the main instrument of evaluation. Yet, precise editing and visual feedback options are available on the upper right corner of the UI. The user can see the exact value of the last selected object, and he can also edit its value, by double-clicking.

The user interface also offers an animated visual feedback for some of the key features of the effects.

Availability, price, and deals

We celebrate WOV and TTAP with an introductory price and deals on the whole shop:

Introductory offer (valid until March 17)

WOV €45 (-25%)
TTAP €45 (-25%)
Bundle €69 (-40%)

Official prices (after March 17)

WOV €59
TTAP €59
WOV+TTAP Bundle €99

Web Demo

We do not create classic downloadable demo versions…

But on the release date we’ll publish web-based versions of plugins on the product pages. Potential customers will be able to try/edit the plugins right in their desktop or mobile Internet browser. This web demo allows the user select a sound source from a list of different example types (piano, synth, drones, percussive, etc.), the chance to edit each parameter, to recall presets and to learn details via detailed description of each parameter.
About K-Devices

K-Devices was founded in 2012 by France-based Italian composer Alessio Santini to design music creation tools for Ableton Live and other music platforms. His products, which include ESQ, Twistor, MOOR, Holder, HERSE, AutoBeat, Drumk 2, REF, Shaper, Moovmi, EXT, KFLUX, KFLUXin, and KFLUXsy, are used by an international roster of musicians and are available online at www.k-devices.com.

Pictured:  WOV and TTAP plug-ins within Ableton Live

West Co Pedals releases the Curt “Kirkee B” Bisquera “Grease Juicer” fuzz / envelope filter pedal

West Co Pedals has announced the release of their first signature pedal, the Curt “Kirkee B” Bisquera “Grease Juicer” – an envelope filter pedal with attitude. The Grease Juicer features a unique analog signal path with knobs making it easy to control its complex chain of fuzz into an envelope filter with a sidechain. Two versions are available-one pedal is voiced specifically for bass and another tuned specifically for electric guitar. If players want a little extra grease and grit this pedal delivers, but it can also function solely as an envelope filter for a clean sound. The envelope filter was designed to accommodate a massive dynamic range-everything from very quiet playing on a guitar with low output single coil pickups, all the way to thumpin’ n’ pluckin’ on a bass with active pickups. The Grease Juicer also sounds incredible on synths, electric piano, and clavinet. To get the kind of sounds and control that the Grease Juicer offers, it would normally take 2 or 3 separate pedals. The Grease Juicer is available through Clif Jones’ LA Vintage Gear store in Burbank, CA, or through the West Co website directly at  www.westcopedals.com for $329.99 USD.

One of the most “in demand” drummers, Curt Bisquera came to West Co Pedals to collaborate on an envelope filter for bass players to use while recording and performing. Bob Daspit, the founder of West Co Pedals, was able to realize Curt’s vision-and then took it to new heights by adding the guitar pedal version. “I have been designing and building pedals on my own for several years, and now it’s been incredible to work with a great musician like Curt to bring the new sounds of the Grease Juicer to life. We’ve been getting great responses from our artists,” says Daspit.

John-Paul McLean, the bass player for Melvin Seals and JGB (Jerry Garcia Band), tried the Grease Juicer recently and immediately exclaimed, “This is exactly what I’ve been looking for!” (https://www.melvinsealsandjgb.com/)

“I’ve been using the Grease Juicer on this latest tour with John Legend,” said bassist Kaveh Rastegar. “I’ve also used it in the studio. It sounds great and is super dependable. I love this thing!!”

See a Grease Juicer demonstration video from guitarist Pete Thorn (Chris Cornell, Melissa Etheridge), featuring Curt Bisquera: https://youtu.be/atmY42lZaHg

West Co Pedals has been building its reputation and product line over the past few years, mainly offering limited quantities of hand-built analog guitar and bass pedals, using top quality internal parts, knobs, and switches. West Co offers a host of analog pedals in addition to the new Grease Juicer, including its unique Blue Highway transparent boost and overdrive, Prickly Pear classic fuzz, Silver Spur treble booster, El Coyote ‘CMOS’ overdrive/fuzz, and the limited edition Goldbricker pedal: a spot-on re-creation of one of the most famous overdrive pedals ever developed. Visit the West Co website for more information and video demos.

Bisquera noted, “For 30-plus years I’ve been playing with the most world-renowned artists and musicians – it just made sense for my first collab to create something for bassists, guitarists, and synth players that I knew I wanted to hear when I’m playing drums!”

Visit the LA Vintage Gear website or call +1 818-298-6030 to buy the Grease Juicer: http://tinyurl.com/Grease-Juicer

Check out all the pedals from West Co Pedals at: https://www.westcopedals.com

All trademarks are the property of their respective holders.

Curt Bisquera with the West Co ‘Grease Juicer’ pedal

The West Co ‘Grease Juicer’ pedals: green knob version is for Bass, orange for Guitar

About Bob Daspit

Guitarist, Producer, Engineer, Composer & Sound Designer
As a composer, Daspit has created original music for films, animation, and video games including Stuntman: Ignition, Terminator 3: Rise Of The Machines, Mission Impossible: 2, Terminator: Dawn Of Fate, and the cult classic Spy Hunter. As a guitar player, Daspit found himself in demand as a top session player for such composers as Harry Gregson-Williams, John Powell, and Michel Colombier. Hans Zimmer favored his blistering guitar work on a number of popular films such as Drop Zone, Point of No Return, Broken Arrow, The Rock, and The Fan.

Working with famed virtual instrument maker Spectrasonics, Daspit created the landmark sound libraries, Hans Zimmer Guitars Volumes I and II.  Released by Spectrasonics, the two collections explored the wide range of guitar tones and other unique stringed instruments.

Bob produced and engineered all of Sammy Hagar’s records from 2000-2010, as well as the DVDs The Long Road To Cabo and Livin’ It Up! Live In St. Louis. Hagar’s version of Let Me Take You There was Daspit’s first charting single that he recorded, mixed, and produced in 2005. Daspit hit the charts again in 2006 producing Hagar’s Livin’ It Up featuring the single Sam I Am (which Daspit and his wife Nicole also co-wrote). Shortly after producing Hagar’s solo record, Cosmic Universal Fashion, Daspit received his first gold record for his work on the debut release by Sammy’s all-star band Chickenfoot.

Bob founded West Co Pedals in 2015 after learning electronics from his father John Daspit – an inventor and electrical engineer who has been designing products since the late 1950s.

For more on Bob Daspit visit: http://bobdaspit.com/

Waves introduces the eMotion LV1 complete live mixing system

Waves Audio, the world’s leading developer of professional audio signal processing technologies and leading maker of audio plugins for mixing, music production, mastering, sound design, broadcast, post-production and live sound, introduces the eMotion LV1 Complete Live Mixing System.

The Waves eMotion LV1 Complete Live Mixing System incorporates everything you need in order to create truly captivating live sound experiences. It is an all-inclusive and extremely cost-effective mixing solution, ideal for houses of worship, clubs, touring bands and live engineers.
This compact system offers the following features and benefits:

  • Easy portability
  • Fast and easy setup
  • Instant sonic excellence out of the box
  • Quick and simple virtual soundcheck
  • Smooth and speedy transition from a musical production to a succeeding audio visual conference (the latter clearly benefiting by using dedicatedDugan Automixer and Dugan Speech plugins)
  • Compatible with the TRACT System Calibration plugin for hall analysis just minutes before a show.
  • Exceptional unique scalability (in that you are not limited in your I/Os; for instance, in the case with a common console, where the only course would normally be to acquire a bigger one, with the eMotion LV1 Complete Live Mixing System you have the freedom to expand your I/O count from 16 to 32, to 64 and beyond)
  • Unprecedented price performance of $5499

The complete live mixing system comes with the Waves eMotion LV1 16-stereo-channel live software mixer, SoundStudio STG-1608 stagebox, SoundGrid Impact Server-C, Axis One Waves-optimized computer, 24-inch Dell touchscreen, eight-port network switch and network cables.

The LV1 delivers class-A sound quality and an unparalleled workflow. Featuring 16 mono/stereo channels, LV1’s channel strips feature a plugin rack that can host up to eight SoundGrid-compatible plugins for real-time processing. It also comes pre-loaded with three plugins specifically designed for live sound: eMo F2 Filter, eMo D5 Dynamics, and eMo Q4 Equalizer. The included SoundStudio STG-1608 is a sturdy SoundGrid stagebox that features 16 mic/line inputs with high-end preamps, the latter of which can be remote-controlled directly from LV1’s mixer channels.

All audio coming from the stage and through the plugins is processed on the included SoundGrid Impact Server-C. You can send the processed audio out to the PA system and back to the stage via the eight-line outputs. All of this takes place at a lightning speed of only 0.8 ms at 44.1–96 kHz.

To supercharge your LV1 mixing system, run eMotion LV1 on Axis One, a Waves-optimized computer made from the ground up to perform consistently and reliably even in the most challenging scenarios. It features an Intel i5 8500 processor, 16 GB of DDR4 RAM, two HDMI ports, one display port, eight USB2/3 ports and a USB-C port, all cased in a rugged 2U half-rack chassis. With maximum stability and rock-solid performance, Axis One is optimized to run eMotion LV1 and other Waves software with power to spare.

A few comments from experienced eMotion LV1 users:

GRAMMY®-winning rapper Pitbull’s FOH engineer, Will Madera comments, “Using the LV1 to mix Pitbull on stage has been a watershed experience. LV1 has made my mixing as easy as mixing in the studio. Its sound quality is clear and crisp, and having all my plugins in the console’s channel strip is amazing. Eight plugins per channel – what a beautiful thing. The future of audio is here!”

FOH engineer Tomas Wolfe keeps a smooth live mix for Run The Jewels’ sold-out shows, even with mic cupping, heavy bass and other challenges faced at live hip hop shows. Wolfe comments, “Really, without these plugins I wouldn’t have been able to do as good of a job in my live shows, period. And having them all run inside the LV1 mixer, all as part of one lightweight system, is the bonus in this situation.”

FOH engineer Jon Schumann (Mew, Lykke Li) has been mixing Danish electropop singer/producer MØ using the LV1. Schuman comments, “ Two things – the sound quality is amazing, and the system is so flexible and light. We’re doing quite a few festivals and it’s great to be able to pack up our entire small creative ‘office,’ check into the airport, and put it all on the plane to fly with us wherever we go on tour. Even if you’re a smaller band, you can take it with you. You don’t have to be Coldplay to travel with your own rig!”

Phil Peters, Director of Audio Services and FOH Mixing Engineer for Christian Broadcast Network, remarks, “At CBN, our content dictates several requirements: excellent sonic quality, small footprint, ease of use, digital integration, and ideally the ability to run Waves plugins. After demoing the eMotion LV1 software with a Surface Pro and a single DiGiGrid MGB, we all agreed that the mix engine sounded great and the software interface would be beneficial to our workflow. We could also purchase the building blocks of the system and grow as our use of the LV1 developed. After one of our first ‘live’ productions, we found ourselves with internal discussions over who would get to use the LV1 on the next show, which led to the purchase of the second one.”

FOH engineer Luis Irizarry (Luis Fonsi, Calle 13) mixed the latest tour by hip-hop artist Residente using the eMotion LV1 live mixer. Irizarry comments, “The first thing that grabbed my attention with the LV1 was the option of having a console so portable and versatile. I can use it in a huge show of 30,000 people, and then I can just as easily mount it in my hotel room and tweak the sound using a recording of the show. This makes virtual soundcheck before the show a no-brainer. The setup is seamlessly simple. But above all, the sound quality is just INCREDIBLE. And, of course, Waves plugins are easily accessible from the LV1, which means that I can use the same plugin presets used in the albums. This enables me to have the show sound as close as possible to the mix of Residente’s CDs. It’s so versatile – I can run it in my living room today, then use it at FOH tomorrow.”

Front-of-house engineer Dani Munoz (Flo Rida, Enrique Iglesias, Animal Collective, Snoop Dogg) chose the Waves eMotion LV1 live mixer on tour for Canadian reggae fusion band Magic!. Munoz remarks, “The Waves LV1 and Waves plugins are the ace under our sleeve. Now we are able to give fans the very best experience we can, no matter where we go.”

Popular Brooklyn club and live music venue Elsewhere has chosen Waves’ eMotion LV1 as its in-house live mixer. Technical Director David Levin comments, “My main goals in choosing a desk for Zone One were sound quality, ease of use and enough flexibility that the engineers won’t get bored!” he says. “When I was first introduced to the LV1, it took about three minutes to learn the basic functionality of the desk, and under 30 minutes to feel like I had a deep grasp of the more in-depth functions. The layout is instantly very familiar, user-friendly, and extremely intuitive. We are doing nine shows and 27+ artists per week! We get a lot of touring guest engineers coming through with their bands, so the console needs to be easy enough for them to become accustomed to – quickly. The LV1 has proven successful in this department, since the GUI is familiar enough that touring engineers can learn the basic workflow by the end of their first sound check on the system. The eMotion LV1 sounds insanely good. The preamps are clean, and the summing is at the top of any class of console. This allows the engineer to choose the vibe he or she wants to achieve. On any given day, you can choose to challenge yourself by mixing with a completely different set of plugins to explore all the flavor variations.”

With the Waves eMotion LV1 Complete Live Mixing System, you can now create studio-quality sound, live on stage with an all inclusive setup and at an affordable price performance as well.

To learn more, visit https://www.waves.com/hardware/emotion-lv1-complete-live-mixing-system.

Waves eMotion LV1 Complete Live Mixing System

About Waves Audio Ltd.:

Waves is the world’s leading developer of audio DSP solutions for the professional, broadcast, and consumer electronics audio markets. Since its start in the early ’90s with the introduction of the Q10 equalizer plugin, Waves has gone on to develop a comprehensive line of over 150 audio plugins, including industry standards like the L1 and L2 Ultramaximizers, popular vintage console models, and innovative mixing tools like Vocal Rider and the Artist Signature Series. For its accomplishments, Waves received a Technical GRAMMY® Award in 2011, and the Q10 was selected as an inductee into the TECnology Hall of Fame. In 2016, Waves released the eMotion LV1 mixer, a revolutionary live digital mixing console that provides real-time audio mixing for front-of-house, monitor, studio and broadcast engineers. Waves technologies are now used to improve sound quality in virtually every sector of the audio market, from recording, mixing, mastering and post-production to broadcast, live sound, and consumer electronics. Waves has over 25 years of expertise in the development of psychoacoustic signal processing algorithms that leverage knowledge of human auditory perception to radically improve perceived sound quality. Waves’ award-winning processors are utilized to improve sound quality in the creation of hit records, major motion pictures, and top-selling video games worldwide. Waves offers computer software and hardware-plus-software solutions for the professional and broadcast markets. The company’s WavesLive division is a market leader in all live sound sectors, spearheading the development of solutions for all live platforms. Under its Maxx brand, Waves offers semiconductor and licensable algorithms for consumer electronics applications. Waves technologies dramatically enhance audio performance and are used by industry leaders such as Dell, Google, Fitbit, Acer, Asus, Hisense and more.

All other product names and trademarks are the property of their respective owners, which are in no way associated or affiliated with Waves.

Web: http://www.waves.com

Audio-Technica offers two new ATM350a cardioid condenser instrument microphone systems

Audio-Technica, a leading innovator in transducer technology for over 50 years, is offering new systems featuring theATM350a Cardioid Condenser Instrument Microphone. The new systems include the AT8491S surface mount or the AT8491G guitar mount. Each new mount is being offered in three ways: full system (ATM350a mic, mount and gooseneck), mount only, and bundle with the mount and gooseneck only.

Offering crisp, clear, well-balanced response even in very high SPL applications, the ATM350a Cardioid Condenser Instrument Microphone provides discreet, rock-solid mounting solutions for a host of instruments, including woodwinds, strings, brass, percussion, drums and piano. The ATM350a is capable of handling 159 dB max SPL, allowing the mic to cope with a wide range of extremely powerful, dynamic sound sources. It features a cardioid polar pattern that reduces side and rear pickup and protects against feedback. The mic’s in-line power module incorporates a switchable 80 Hz hi-pass filter to help control undesired ambient noise.

The AT8491S surface mount is designed for accordions and other challenging applications. The notched mount can be attached permanently using the accordion’s grille screw and the included adhesive silicon pad, or it can be attached temporarily using the included 3M Dual Lock™ pads. A transparent protective film is also included to prevent damage to the instrument’s finish.

The AT8491G guitar mount features a rugged, thumbscrew-adjustable clamp with non-marking pads that attaches to guitars and other stringed instruments with body depths of 90-135 mm.

New ATM350a Cardioid Condenser Instrument Microphone packages and U.S. pricing:

  • ATM350S Wired ATM350a w/ surface mount and short gooseneck: $299
  • AT8491S Surface mount only: $39
  • AT8492S Surface mounting system (gooseneck + mount): $69
  • ATM350GL Wired ATM350a w/ guitar mount and long gooseneck: $349
  • AT8491G Guitar mount only: $79
  • AT8492GL Guitar mounting system (gooseneck + mount): $119

These new packages join the existing ATM350a systems, which feature ATM350D Drum Mounting System (5″ Gooseneck), ATM350PL Magnetic Piano Mounting System (9″ Gooseneck), ATM350U Universal Clip-on Mounting System (5″ Gooseneck), ATM350UL Universal Clip-on Mounting System (9″ Gooseneck) or ATM350W Woodwind Mounting System (5″ Gooseneck).

For more information, please visit www.audio-technica.com.

Audio-Technica ATM350a Cardioid Condenser Instrument Microphone with guitar mount (L) and surface mount (R).

Click here for more information about ATM350a Microphone Systems

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Celebrating over 50 years of audio excellence worldwide, Audio-Technica is a leading innovator in transducer technology, renowned for the design and manufacture of microphones, wireless microphones, headphones, mixers, and electronics for the audio industry.

Web: www.audio-technica.com