With the impending adoption of MIDI 2.0, the MIDI Manufacturers Association (MMA) Board of Directors is expanding the scope of the organization to accommodate future growth.
Tom White, who guided the MMA for the past 26 years as President, has announced his retirement from the organization to focus on new business and personal opportunities. Gene Joly, SVP of QSC and former NAMM board member, will serve as interim President while the MMA initiates an executive search to fill the position permanently.
The Board has also elected Kate Stone, CEO of Novalia, as the Chair of Board of Directors. Athan Billias, MMA Board Member and Digital Marketing Strategy Manager at Yamaha, will serve as Chief Financial Officer.
Two new Officer positions will further expand the organization’s outreach. Industry icon Craig Anderton has accepted the position of Vice President of Public Relations, while Kevin LaManna, CEO of Monday Loves You, will serve as Vice President of Information Technology.
All of the current officers of the MMA serve as unpaid volunteers.
For more information on the MMA’s goals, benefits, and initiatives, please visit midi.org.
Trailblazing pro audio manufacturer Antelope Audio is proud to announce availability of COMP-4K-STRIP, COMP-4K-BUS, Marble White AutoWah, MES-432C, MG4, and Adaptive Vibrato — six new Synergy Core effects for use with its Discrete 4 Synergy Core, Discrete 8 Synergy Core, and Orion Studio Synergy Core, cutting-edge audio interfaces that work with Synergy Core effects (using ARM-based DSP to free up any DAW-hosting computer’s CPU to improve system stability and reduce buffer size to record and monitor with sub-millisecond latency by bringing a wider range of creative effects to an efficient, low-latency proprietary platform while FPGA chips handle all audio mixing, dynamics processing, equalisation, and reverbs, with effects modelled from legendary studio gear) — as of December 23…
Although it almost goes without saying that musical tastes vary considerably, chances are that a so-called ‘4K’ series large-format mixing console left its musical mark on almost anyone’s favourite records. Indeed, it is still in use in many major studios to this day, despite being superseded by more modern technology — albeit, arguably, never bettered. But the ‘4K’ was certainly the console of choice for Eighties rock and synth-pop alike, and remains revered as one of the best-loved large-format mixing consoles ever made. Fast-forward to today, then, and bringing COMP-4K-STRIP to its Synergy Core cutting-edge effects platform really ranks as one of the proudest moments in Antelope Audio’s high-standing history — enthusiastic as it has always been about great analogue sound. And rightly so since, in this case, an actual channel strip was carefully removed from a well-preserved ‘4K’ series large-format mixing console before being painstakingly analysed and its digital recreation rigorously tested to take pole position amongst the most faithful ‘4K’ reproductions out there. Today, users of Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, and Orion Studio Synergy Core audio interfaces are able to enjoy the classic punch, glue, drive, and saturation of that iconic large-format mixing console with next-to-no latency and zero CPU load, thanks to the DSP+FPGA Synergy Core processing platform built into their audio interface. Initiate instances of COMP-4K-STRIP all across a session to record, monitor, mix, and master through the sought-after sound of that time-tested circuitry. COMP-4K-STRIP looks as great as it sounds, and is easy to use, courtesy of the following features and self-explanatory controls: ON/StandBy; COMPRESSOR (THRESHOLD, RATIO, RELEASE, and FAST ATK); EXPANDER (THRESHOLD, RANGE, RELEASE, EXP/GATE, and FAST ATK); FILTERS (Low-pass Hz, Hi-pass kHz, routable pre- and post-dynamics processing with switches); and GAIN (for final volume adjustment).
Arriving through the same family background, COMP-4K-BUS realistically recreates the famous ‘mix glue’ bus compressor that rose to prominence in the Eighties, residing on the master bus of a fondly-remembered series of vintage British consoles. Creatively, it was designed to bring together instruments and performances from multiple channels into a larger-than-life cohesive whole, while decades later nothing sounds quite like it — until Antelope Audio’s COMP-4K-BUS, that is! It is the gold standard of mix bus compressors, brought back to life on the Synergy Core platform. Put COMP-4K-BUS on any DAW’s master fader to start mixing right into it, or apply after everything else when the mix is ‘said and done’ to transform it into a balanced, homogenous production with no need to worry about latency or CPU load, thanks to the beautiful combination of DSP+FPGA forming the Synergy Core processing platform! Onscreen features include a vintage-style VU meter alongside THRESHOLD; ATTACK mS (milliseconds); RATIO; MAKE UP; RELEASE S (seconds); SC FILTER Hz (Hi-pass sidechain filter); wet/dry MIX (for parallel compression); and RATE S (seconds) controls, plus an AUTO FADE mode.
Marble White AutoWah realistically replicates a boutique auto-wah pedal from Finland whose circuit is originally based on a rack-mount wah, and refined further to sound like a real wah pedal. Put it this way: musically, Marble White AutoWah is in a league of its own, with fast tracking, amazing accuracy, and responsive controls, which works equally well on guitar and bass. Better still, its bespoke DECAY control allows adjustment of the filter frequency fall speed, so Marble White AutoWah can drench every note in wah or be better behaved, so-to-speak — as expected from a more traditional autowah pedal. Powered by Antelope Audio’s acclaimed Synergy Core platform, Marble White AutoWah works in real time with no perceivable latency. Feel free to calibrate it with Shred Guitar Amps & Cabs to obtain a formidable guitar and effects rig inside the Discrete 4 Synergy Core, Discrete 8 Synergy Core, or Orion Studio Synergy Core audio interface that works without any associated CPU load. Little in the way of controls — SENSITIVITY, BIAS, RESONANCE, and DECAY — can deliver a lot of variation in the resultant auto-wah effect.
Effectively recreating Sontec’s mastering equaliser, MES-432C reclothes an absolute standard. Since its introduction in the late-Sixties, subsequently refined in the early- Seventies, it has remained the go-to mastering equaliser for fortunate old-school pros. Put it this way: with the inventor of parametric equalisation itself serving as its co- creator, the resultant design is, in all likelihood, destined — in its many reincarnations — to last forever. First listening can be deceptive, due to the EQ’s subtle-sounding nature lacking in any obvious mojo, maybe, but dig deeper into its controls and any audio benefits from particular and pleasant character enhancement. Everything seemingly sounds better — even poorly-executed equalisation choices! Antelope Audio’s MES-432C emulates exactly what that top-end mastering EQ does best, by squeezing extra drops of sweetness out of an already excellent-sounding mix that needs little in the way of additional polish. Indeed, it will serve just as well when put to work on a mix bus or onto individual tracks in need of frequency boosts or cuts here and there. Apply as many instances as needed without worrying about latency and CPU load. Let Antelope Audio’s Synergy Core audio interfaces handle it all, leaving more computer power for favourite instruments and effects. MES-432C likewise looks as great as it sounds, and is easy to use, including the following features: SHELVING EQ (LO/HI); LO, MID, and HI SHAPE dB/Oct (Q) controls; LO, MID, and HI FREQ (frequency) controls totalling 72 bands; LO, MID, and HI LEVEL dB (boost/cut) controls; and final volume adjustment.
Meanwhile, MG4 faithfully recreates the superlative sound of a legendary 500 Series EQ module from a highly-regarded Swedish brand that has made its presence felt sonically on hundreds of top charting records from the likes of Madonna, Snoop Dogg, and many more well-known faces of popular music. MG4 also features its innovative SKY BAND, able to add the kind of expensive-sounding gloss and sheen typically heard on singles benefitting from high-flying production teams and expensive equipment. This six-band EQ is also notable for its highly-linear phase operation — far from easily achievable in the analogue domain, duly endowing MG4 with an ability to preserve any audio being fed through it without suffering from any phase-shifting artefacts. As such, purity and clarity combine to be the name of the game when it comes to this EQ — perfectly powered by Antelope Audio’s latency- and CPU-free Synergy Core effects processing. The following features mirror those developed by that highly-regarded Swedish brand: IN/OUT (bypass button); SUB frequency (boost/cut control); 40 Hz (boost/cut control); 160 Hz (boost/cut control); 650 Hz (boost/cut control); 2.5 kHz (boost/cut control); SKY GAIN (control); and SKY BAND frequency (select control).
Closing out Antelope Audio’s additional six Synergy Core effects for its critically-acclaimed audio interface namesakes is its take on what a great vibrato should sound and look like — Adaptive Vibrato. Indeed, its development derived from closely examining some tried-and-tested circuits before incorporating those impressions into a virtual unit delivering a veritable vibrato toy box — complete with LATCH and TRIGGER MODE; RATE and DEPTH controls; five-way WAVE modulation; DELAY and RISE controls; THRESHOLD and ENDFREQ controls; plus control over the DRY/WET MIX. Antelope Audio’s appropriately-named Adaptive Vibrato is a notable new Synergy Core effect to be reckoned with!
COMP-4K-STRIP is available for Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, and Orion Studio Synergy Core audio interfaces, priced at $125.00 USD/€125.00 EUR directly from here: https://en.antelopeaudio.com/products/comp-4k-strip/
COMP-4K-BUS is available for Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, and Orion Studio Synergy Core audio interfaces, priced at $145.00 USD/€145.00 EUR directly from here: https://en.antelopeaudio.com/products/comp-4k-bus/
MES-432C is available for Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, and Orion Studio Synergy Core audio interfaces, priced at $145.00 USD/€145.00 EUR directly from here: https://en.antelopeaudio.com/products/mes-432c/
MG4 is available for Antelope Audio’s acclaimed Discrete 4 Synergy Core, Discrete 8 Synergy Core, and Orion Studio Synergy Core audio interfaces, priced at $125.00 USD/€125.00 EUR directly from here: https://en.antelopeaudio.com/products/mg4/
Antelope Audio is a leading manufacturer of high-end professional audio equipment. Founded in 2004 and reinventing the industry with its flawless master clock technologies and versatile multi-channel interface solutions, the company has been steadily expanding its portfolio over the years under the guidance of visionary engineer and CEO Igor Levin. Antelope Audio’s products offer the best of both analogue and digital technologies. Among its most recent innovations are compact interfaces with discrete mic preamps, hardware-based effects modelled to the component level running on a Synergy Core of DSP and FPGA processing, and next-generation modelling microphones.These are distributed through Antelope Audio offices in Europe, the Americas, and Asia, and highly acclaimed by users all over the world. The company’s customers include GRAMMY® award-winning sound engineers, top-tier producers, world-class artists, and some of the most renowned, recording, mastering, and post-production facilities around the globe.
SampleScience Complete (2019 Edition) features all plugins, Kontakt instruments, and donationware libraries released by SampleScience. This bundle represents 340$ in savings, and will only be available until the end of the year (December 31, Midnight, Eastern Time).”
Following a successful showcase in October at Sheffield’s Synthfest UK 2019, billed as being the UK’s biggest synthesizer event, advanced creative technology designer TA Programming is proud to announce availability of its inaugural Studio MIDI And CV Interface full synthesizer control system — capable of controlling multiple synthesizers simultaneously via voltage control outputs and MIDI/USB with extra-low latency while keeping analogue instruments, vintage or otherwise, perfectly in tune with each other — as of December 20…
According to TA Programming CEO/CTO Tim Aviss, “We designed this interface to be not just a solution to problems that we’d encountered when controlling synthesizers in the past, but to unlock a whole new world of creativity with synthesizers from one interface.”
Indeed, TA Programming’s debut design does just that, thanks to its innovative implementation of complimentary connections, comprising MIDI In and MIDI Out alongside USB I/O for MIDI and serial bus connectivity, together with four universal CV CONTROL outputs. On the face of it, then, the Studio MIDI And CV Interface full synthesizer control system is creatively kitted out to target the hotly-contested competition out there already. After all, those four universal CV CONTROL outputs can perform any function regardless of whether it is for producing Pitch, Gate, or Aux signals. Saying that, an unlimited number of universal CV CONTROL outputs can quickly be created by daisy-chaining multiple interfaces via the MIDI ports. Also, any source — such as Pitch, Note On/Off, Velocity, Aftertouch, any MIDI CC number, signals from a DAW, and more besides — can be selected via USB or MIDI.
Fortunately for anyone putting the Studio MIDI And CV Interface to the test, the voltage of the configured output is completely user definable between -9V and +10V, providing plenty of range to satisfy the requirements of almost all synthesizers, past and present. Put it this way: with this level of versatility, the Studio MIDI And CV Interface provides its users with complete control over note range scale — from microtonality all the way through to the limits of the connected synthesizer. Thankfully, TA Programming’s proprietary tuning technology is capable of handling even the most stubborn scaling issues, effectively eliminating scaling and tuning issues on any analogue synthesizer, including non-linearities. This technology is built upon a six-point multi-mapping system that uses advanced interpolation and modelling algorithms all within a floating-point mathematical model before conversion to control voltages are applied in real time. In other words, once a tuning profile has been configured for the synthesizer concerned, TA Programming’s proprietary tuning technology works out the control voltages said synthesizer needs, regardless of tempco (temperature compensating) resistor variation, in order to produce pitch-perfect notes in real time — a must-have for owners of vintage or more modern analogue synthesizers alike!
Additionally, the Studio MIDI And CV Interface is MPE (MIDI Polyphonic Expression) compatible, capable of sending out full MPE via MIDI DIN or mapping single channel/polyphonic MPE out of the universal CV CONTROL outputs. As all five control dimensions are natively supported, users can be sure that their synthesizers will be as musically expressive as allowed by the MPE method.
Meanwhile, the interface itself has internal circuitry powered by USB. Ultimately, however, TA Programming pushed itself hard to ensure that the power supply can tolerate variances in input voltage so that the resulting supply is always as clean as possible, providing the highest control voltage accuracy, as well as preserving tuning and configuration regardless of the USB host.
Having said all that, TA Programming’s powerful control software allows anyone to completely configure their Studio MIDI And CV Interface. In addition to this, they can host USB MIDI controllers in the software itself, thereby bypassing their DAW, if desired. Said software also provides plentiful MIDI processing features — from LFOs to BPM-locked arpeggiators, keyboard splitting over MIDI, and much more. TA Programming plans to regularly update the interface’s firmware and control software so that its users can always access the latest features following their initial purchase.
Last, but by no means least, the Studio MIDI And CV Interface always automatically stores its user’s current configuration with no need to click save. So feel free to travel between recording studio and performance venue safe in the knowledge that their current configuration will automatically load when the interface is powered back up. Upon connection to their computer, the control software will automatically pull the current configuration from the interface itself to allow for easy editing. And as if this was not exciting enough, an unlimited number of presets and profiles for all the synthesizers in anyone’s setup can be saved to the computer and reloaded into the interface at any time.
TA Programming looks all set to play to win with its inaugural Studio MIDI And CV Interface. Owners of vintage and more modern synthesizers simply owe it to themselves and their treasured instruments to test TA Programming’s debut design. It is no ordinary MIDI-to-CV convertor, clearly!
Musicians first and foremost, TA Programming was founded in London, UK with a passion for synthesizers and studio hardware and a desire to design advanced creative technology to fill voids in their respective musical spaces, while also allowing for more expressive music making and performance. Following in the footsteps of its inaugural Studio MIDI And CV Interface full synthesizer control system, some notable new products are all set for release in early 2020!
Akai Professional, a leading manufacturer of music equipment for performers and producers, is proud to announce Force firmware 3.0.4 and MPC firmware 2.7 that include the highly-anticipated Ableton Live Control.
Force and MPC come pre-mapped for deep tactile control of Ableton Live clip launching, mixer panel and of course, Ableton devices. Ableton Live Control functions wirelessly over a Wi-Fi network via Ableton Link. This is an unparalleled level of Ableton integration from a standalone device. Ableton Live Control mode has been carefully designed to enable users to instantly switch between standalone operation and Live Control mode without ever stopping playback from either platform.
With Ableton Control integration, Akai Professional has bridged the standalone and Ableton worlds seamlessly for an unprecedented amount of creative power. The ingenuity of Force and MPC plugin instruments Bassline and Tube Synth, pristine sound processing FX and stellar sample manipulation algorithms, paired with Ableton and the power of clip launching is here and ready for musical ambitions of the most adventurous kind.
Ableton Live Control Features:
Matrix Tab – The Matrix tab displays an 8×8 section of Live’s Session View marked in the Live GUI by the colored session ring. Users have a complete overview of—and immediate access to—the scenes, clips, play status, recording status as well as control over playback, recording quantize functions and scene/ clip management.
Mixer Tab – The Mixer Tab provides instant access to Live’s key mixing functions, divided into three views for control of Levels, Main mixer parameters and Sends. Using Force’s touch interface, control any slider/knob or bring up a full screen editor for precise adjustments.
Device Control Tab – The device tab controls the device on the current track at Ableton Live’s Blue Hand position, providing control and key visual feedback on Ableton Instruments and third-party plugins.
Control Bar – At the top of the touch user interface, users can customize the Control Bar to display preset displays for Session, Arrangement and Performance modes including BPM, Phase Nudge Down/Up, Metronome, Follow, Overdub, Automation Arm and more.
Dan Gill, Senior Product Manager for Akai Professional said, “With every update, we redefine the products and extend the scope of their capabilities. With these firmware releases for Force and MPC, our standalone platforms join with Ableton Live to provide musicians, performers and producers unparalleled creative possibilities. Following an extensive Beta testing program, and listening to our customer’s feedback, we are delighted to provide the production community with a control solution for Ableton Live, while harnessing the sheer creative power of the world’s greatest standalone production and performance solutions.”
For more information and to download the latest firmware, visit akaipro.com.
About Akai Professional
The world’s most influential manufacturer of music production gear, Akai Professional develops creative technologies to empower music makers with tools that are unmatched in expressive capability. Akai Professional is best known for creating the legendary MPC, an instrument that has inspired generations of producers and performers and spawned entirely new genres of music. Akai Professional is a part of the inMusic family of premiere music brands.
RTI, global leader in control and automation, today announced that the company’s new CP-16i Cool Power® audio amplifier is now available. Offering 16 channels, the unit combines audiophile-grade quality with protection and convenience features to extend the reach of any audio distribution system.
“The CP-16i is designed for discerning listeners who demand the highest quality audio in every room,” said Brett Stokke, director of marketing, RTI. “The amp is the perfect complement to audio distribution systems such as our AD-16x Audio Matrix, and it fits into 1RU, which dealers will appreciate when they have bigger jobs and rack space is at a premium.”
Featuring Cool Power technology for superb sonic performance, the CP-16i delivers 100 Watts of true audiophile-grade sound per channel, with bridgeable audio outputs allowing power to be increased to 200W per channel. The unit also includes thermal overload and overcurrent monitoring, while Class-D amplification ensures efficient heat dissipation and low power consumption.
RTI delivers the connected world to users’ fingertips via advanced control and automation systems for smart homes and businesses. Guided by a passion for delivering the ultimate user experience, the company’s award-winning solutions bring entertainment, environment, and security into harmony with a powerful ecosystem that is easy enough for anyone to use. The RTI portfolio offers beautifully designed remote controls, touchpanels, apps, processors and A/V distribution, all backed by the company’s renowned Integration Designer® programming software, enabling integrators to deliver complete custom control for their clients.
The RTI family of innovative control solutions includes Pro Control. Affordable and easy to program, this line of remote controls, processors, and ProPanel® app are engineered with RTI’s advanced capabilities and bring unprecedented value to professionally installed electronic systems. Together, RTI and Pro Control are setting the standard for fully customizable control and automation solutions for every application.
Steinberg today announced the immediate availability of Cubasis 3, the award-winning music production app that lets musicians and producers create music anywhere they go.
Gravitating toward its desktop equivalent, Cubasis provides the same look and feel as Steinberg’s Cubase music software, and sports similar tools to perform, mix and share music productions, including many effects, hundreds of instrument sounds and third-party plug-in compatibility with Audio Unit, Inter-App Audio and Audiobus 3.
The all-new Cubasis
Previous versions of Cubasis only ran on the iPad, but with its third version, Cubasis has evolved into a full-fledged DAW now offering universal app support for both iPad and iPhone. This means that the app’s extensive feature set can now be used on a smaller screen without restricting usability.
Cubasis 3 is more performant than ever before, offering great new features and enhancements that let users get results quickly and easily. Group Tracks is one of many highlights that Cubasis has to offer. It combines multiple tracks so that they can be processed and mixed as though they were a single track — a special capability that is extremely useful when using the app on the limited real estate of an iPhone’s screen.
The mixer in Cubasis 3 has been revamped, now taking advantage of the entire display. It includes useful zoom modes and an eminently accurate level metering for as many tracks as are needed.
Also new in Cubasis 3 are the eight rearrangeable insert and send effects. Users can add up to eight insert and eight send effects from the many already included in Cubasis or can choose to use third-party effects via Audio Unit, Inter-App Audio and Audiobus 3. The insert effects can now be placed before or after the fader.
Other feature highlights
Many other feature additions and capabilities in Cubasis 3 include:
Free Cubasis 2 in-app purchase transfer to Cubasis 3.
MIDI resolution dramatically improved with 960 pulses per quarter note.
75 new effects presets.
Undo reinvented with History List.
Redesigned instruments and effects.
Updated audio, MIDI and automation editors.
Improved MediaBay: Creating folders, moving files and sharing music has never been easier in Cubasis.
Presets for user interface scalability let Cubasis fit perfectly on either the iPhone or iPad.
Overdub and looper recording modes.
MicroSonic now includes even more instruments.
Easily keep visual track with vertical event coloring.
AU MIDI effects automation.
Micrologue ARP (IAP) automation.
Continuing playback while performing undo, redo and more.
Marketing Manager Lars Slowak commented: “After more than 30 free Cubasis updates for the previous two versions, it’s time to reveal what the team has been working on for quite some time now — Cubasis 3, a completely new app.
“Not only did we rewrite Cubasis 3 from scratch, we also had to rethink the app itself so that it looks and performs perfectly on the iPhone. It is a huge step forward with iPhone support and more than twenty user-requested features. And I’m very proud of our team who pulled it off, delivering the best version to date with Cubasis 3.”
Availability and pricing
Cubasis 3 is purchased as download through the App Store and is not available for free to existing customers of previous versions of Cubasis. The price is US $49.99.
Cubasis 2 and its corresponding in-app purchases remain available in the App Store. Cubasis 2 will now be priced at US $23.99.
In addition, the price for the Full Feature Set In-App Purchase, included in Cubasis LE 2 will also be reduced to US $14.99.
Unlimited number of audio and MIDI tracks
24 assignable physical inputs and outputs
32-bit floating-point audio engine
Audio I/O resolution of up to 24-bit/96 kHz
Real-time time-stretching and pitch-shifting featuring zplane’s élastique 3
Micrologue virtual analog synthesizer with 126 ready-to-go presets
MicroSonic with over 120 virtual instrument sounds
MiniSampler to create your own instruments (includes 20 factory instruments)
Mixer with studio-grade channel strip per track and 17 effects processors
Fully automatable DJ-like Spin FX effect plug-in
Over 550 MIDI and time-stretch-capable audio loops
Virtual keyboard, chord and drum pads with intuitive note repeat
Audio editor and MIDI editor with MIDI CC support
MIDI editor for programming and editing MIDI tracks quickly and efficiently
MIDI auto quantize
Automation, MIDI CC, program change and aftertouch support
Core Audio and MIDI-compatible hardware supported
MIDI over Bluetooth LE support
Load favorite third-party instruments and effects plug-ins via Audio Unit, Audio Unit MIDI, Inter-App Audio and Audiobus 3
Import audio via iTunes, iCloud Drive, Files app, AirDrop or use AudioPaste
MIDI clock and MIDI thru support
Export to Cubase, iCloud Drive, external hard drives, wireless flash drives, Dropbox, AudioCopy and email
About Steinberg Media Technologies GmbH
Steinberg is known the world over for its music and audio software and hardware solutions. The company has been developing, manufacturing and selling innovative products for musicians and producers in the music, film, post production and multimedia industries since 1984. Steinberg products are used by Grammy and Oscar award-winning composers, engineers and producers. The company also offers business customers license-management and copy-protection systems.
Having been busy throughout the year applying its innovative ToneSpot one-shot channel processing plug-in concept to quickly creating the perfect bass guitar tone (with the January 2019 release of ToneSpot Bass Pro), perfect-sounding stringed acoustic instruments (with the April 2019 release of ToneSpot Acoustic Pro), perfect-sounding percussion (with the June 2019 release of ToneSpot Drum Pro), and achieving amazing-sounding electric guitar tones (with the September 2019 release of ToneSpot Electric Pro), software applications, software effects, and hardware processors developer Audified is proud to readily round out the ToneSpot series with the self-explanatory ToneSpot Voice Pro — providing all the tools to mix any kind of vocal track to sit in the mix wonderfully with only one plug-in — as of December 2…
Achieving an amazing-sounding vocal is crucial to today’s anticipated and accepted music production standards — so much so, in fact, that it is arguably the production pivot on which the balance of any successful song surely rests. Indeed, it is often the key to success in almost every style of music. After all, the lead vocal track is usually the main guide for the listener throughout the song. Though there are many different approaches and aesthetics of vocal production from which to choose, they share some similarities. Musically, many steps of getting the right vocal mix are based on the same acoustic principles. Put it this way: whether mixing old school swing or the latest pop sensation, some equalisation and compression, plus some kind of ambiance, are likely to be the order of the day. Depending on the genre, this could conceivably range from a subtle touch through to heavy-duty sound processing. An applicable approach might well be carefully chosen, yet achieving a desired result is not necessarily a straightforward or speedy process. Professional mix engineers can spend years honing their creative craft. Which is perhaps the way it should be. But there is another way. Which is exactly where Audified’s self-explanatory ToneSpot Voice Pro clearly comes into its own.
Of course, having already refined its innovative ToneSpot one-shot channel processing plug-in concept to suit specific instrument tracks with several product releases that have been well received throughout the year, it should come as little surprise to learn that ToneSpot Voice Pro is suited to mixing any kind of vocal track — from fanciful-sounding singing through to throaty screaming, and anything in between! Backing vocals, vocal layers, and harmonies will blend with the greatest of ease. Equally at home when being used to mix the spoken word, ToneSpot Voice Pro puts users in control of achieving an amazing-sounding vocal with minimum fuss.
Fortunately for anyone putting it to the test, ToneSpot Voice Pro provides ten powerful ‘modules’ alongside all-important Input and Output sections. Those ten ‘modules’ represent the usual vocal mix workflow with the audio signal being fed through them in series from left to right, as follows: Character (determines the basic flavour of the sound and affects many of the subsequent sections); Distortion (replicates real valve distortion circuitry based on a vintage guitar amp, perfect for executing extreme vocal techniques); Saturation (is an advanced model of a real valve saturation circuit that brings about an agreeable higher harmonics punch); DeEssAir (removes unwanted vocal sibilance while bringing back some ‘air’ at the same time); Shaping (shapes the tone with an eight-band musically-labelled EQ); Punch (is quite a strong compressor with slower attack time and a medium compression ratio); Surgery (is an extreme surgical peak EQ with two identical filters and up to -50 dB attenuation); Smash (is a peak-eating levelling compressor with faster attack time and a gentle compression ratio); Effects (comprises Delay and Reverb, the two most important time-based effects for handling any vocal processing task); and Finalizer (is the mastering section of the ToneSpot Voice Pro processing chain; sometimes a voice just needs that final touch — some sweetness or fatness, for example). Each can be separately switched on or off, as needed, and an AGC (Automatic Gain Control) is included in both the Input and Output sections, setting the plug-in’s signal level to 0 dBVU.
Ultimately, then, ToneSpot Voice Pro rounds out Audified’s acclaimed ToneSpot series, following in the footsteps of several specific plug-in predecessors to provide the tools to allow anyone to realise their musical ideas. After all, great musical ideas need great sound in this day and age, where the quality of sound and sound aesthetics can often determine the success of the music. A great mix can help a great song to become better — better able to compete in today’s radically changing music industry, in other words.
With Audified’s ToneSpot Voice Pro-augmented ToneSpot series, anyone can quickly produce well rounded, better-sounding music mixes from now on. On the face of it, spotting the perfect-sounding tone has never been more achievable than today, applying Audified’s innovative ToneSpot one-shot channel processing plug-in concept to bass guitars, stringed acoustic instruments, percussion, electric guitars, and — now — vocals!
ToneSpot Voice Pro can be directly downloaded as an AAX, AU, VST2, VST3, 32- and 64-bit native plug-in for MacOS (10.9 and above) and Windows (7, 8, and 10) — alongside a demo version — from Audified here: https://services.audified.com/download (Note that all Audified’s ToneSpot series plug-ins are serial number-protected, so no iLok is required.)
ToneSpot Voice Express — featuring the same processing power as its bigger brother, but with a reduced control count — will be available to purchase from December 20, 2019 for a time-limited introductory promo price of $19.00 USD until January 10, 2020 — rising thereafter to $49.00 USD — from Audified’s online shop here: https://shop.audified.com/products/tonespot-voice-express
With more than 20 years of R&D, education, and collaboration connected with its notable name (https://shop.audified.com/pages/history), Audified actively develops software applications, software effects, and hardware processors for musicians, audio engineers, and installed audio. As such, the company’s collective vision is to improve and streamline music production workflow, adding a new aesthetic value to their customer’s work while helping them to achieve the best possible results.
IK Multimedia announces the Hammond B-3X tonewheel organ virtual instrument for iPad. This new app maintains all the realism, detail and features found in the Mac/PC version, which was created in close collaboration with Hammond USA and Suzuki Music Corp. of Japan, but now available on an even more portable device, making it ideal for a streamlined live performance or travel recording rig.
Hammond B-3X for iPad meticulously recreates the sound, controls and entire effects signal path of the legendary Hammond® B-3. This comprehensive approach offers a level of realism and detail that will satisfy the most discriminating B-3 fans while also offering an affordable introduction to the unique world of tonewheel organs that can be enjoyed by all levels of players.
The new app is ideal for performing musicians looking for a simplified stage rig, letting them run Hammond B-3X on an iPad instead of a dedicated laptop, with full compatibility for MIDI controllers and Hammond digital organs. Hammond B-3X for iPad also supports the latest AudioUnits format, allowing it be used as a plug-in in many of today’s most popular recording apps, for an ultra-portable travel studio that delivers world-class realism and features.
IK’s industry-leading modeling techniques were employed to deliver fine details and nuances approved by the discerning ears of the Hammond Organ Company in Chicago. In addition to its authentic organ sound, this new instrument offers a full-rig chain including stomp effects, an extended version of IK’s Leslie® Collection with a rotary cabinet with mix-and-match amp and cabinet models plus four microphones, a parallel guitar amp with 4×12 cabinet, a mixer and three studio post effects.
It’s all in the details
True to the hardware original, Hammond B-3X for iPad begins with 91 tonewheels, which are based on well-maintained Hammond organs that IK studied in locations around the world. These free-running tonewheels are mixed in real-time based on the notes played and drawbar levels, for authentic realism.
Hammond B-3X for iPad can be fine-tuned using IK’s detailed models of the original settings, controls and circuits, which were all approved by the Hammond Organ Company. Users can employ tonal filtering, select the independent key click, and engage the iconic Hammond percussion and chorus-vibrato circuits with advanced controls.
For deeper exploration and realistic touches, Hammond fans will appreciate a familiar simulation of the effects of “aging” components to control tonal balance, generator leakage and crosstalk, and the chorus circuit’s presence boost.
True tone, real experience
All the controls are designed to recreate the exact experience of playing a classic, hardware B-3 organ – from the order of the chorus/vibrato settings to the placement of the percussion switches. Some additional features have been included as well, for modern convenience.
The drawbars update in real-time when the inverted drawbar settings keys are selected, allowing users to save 24 custom drawbar settings per preset. For live use, a “Controls” view hides the keyboard and enlarges the drawbars and switches for less distraction while playing. MIDI assignments for modern Hammond digital organs are also included, making it plug-and-play easy to perform with everything at arm’s reach.
Extended stomp box effects
The organ feeds a 5-unit pedalboard in the STOMPS section that features overdrive, graphic EQ, stomp box-style chorus-vibrato, wah wah and spring reverb. Derived from IK’s award-winning AmpliTube® and T-RackS® software, these effects were carefully chosen and arranged for easy recreation of the widest range of iconic tonewheel organ sounds. They can also be assigned to MIDI control for on-stage use.
Real Leslie® sound
The signal is then sent to a CABS section that includes a choice of real Leslie amps and speakers that can be mixed and matched, along with a parallel guitar amp and 4×12 cabinet. Using technology derived from IK’s award-winning AmpliTube 4 amplifier modeling, combined with an extended version of IK’s Leslie® Collection, Hammond B-3X for iPad’s cabinet section offers a massive range of sound-shaping option tabs. They include:
Setup – lets users fine tune the Leslie’s slow and fast speed settings – including acceleration and deceleration – and adjust the mic distance and configuration
Leslie Amp – offers a selection of five Leslie power amps (or a power amp modeling off switch) and two guitar power amps to use in any of five Leslie cabinets, with full control over gain, EQ and volume
Leslie EQ – enables the rotary speaker to be shaped with high-pass, low-pass and parametric mid EQ
Guitar Amp – adds a parallel guitar amp derived from AmpliTube into the mix for use with popular rock tones used by top rock and blues players; offers full tone-shaping controls and spring reverb
Mixer – blends the sound of the Leslie, with independent volume and panning of both the horn and drum mics, the parallel guitar amp, and the DI organ sound for unprecedented tonal flexibility
Add professional polish
Finally, Hammond B-3X for iPad offers three rackmount studio effects derived from IK’s T-RackS Mixing and Mastering Workstation to add a final, professional touch.
IK’s Limiter 76 FET-based compressor offers an iconic, timeless sound; the EQ-81 adds classic console tone-shaping and warmth; and a digital reverb adds a pristine sense of space.
Pricing and availability
Hammond B-3X for iPad is available from the Apple App Store® with a special introductory price of $99.99 through March 2020.
*Local pricing is determined by Apple, based on exchange rates.
About IK Multimedia: IK Multimedia is a leading music technology company that harnesses advanced software and hardware design to make professional quality tools accessible to everyone – from its ground-breaking AmpliTube, T-RackS and SampleTank software, to its acclaimed iRig series of music creation tools for iPhone, iPad, Android and Mac/PC; from the award-winning iLoud reference monitors, to its first analog hardware synth, UNO Synth. With millions of installations and registered users worldwide, IK leads the way for musicians in the studio, on the go or on the stage.
AmpliTube and T-RackS are trademarks of IK Multimedia. B-3 and Leslie are trademark properties of Hammond Organ/Leslie, wholly-owned brand subsidiaries of Suzuki Musical Instruments Mfg., Ltd. of Hamamatsu, Japan. Hammond’s USA HQ is in Addison, Illinois. Mac, iPhone, iPad and App Store are trademarks of Apple, Inc., registered in the U.S. and other countries. All other trademarks are property of their respective owners.