Sound Magic releases Supreme Piano 4

Cutting-edge audio technologies developer Sound Magic is proud to announce availability of Supreme Piano 4 — its latest hybrid modelling virtual instrument for Mac (AU 32-/64-bit, VST 32-/64-bit) and Windows (VST 32-/64-bit), featuring 8 pianos collection together with Neo MasterTool, offers brand new pianos and upgrades monthly in a one year — as of Mar 20th , 2020.

Technology evolution can turn things that were seemingly impossible in the past into reality. One exciting feature that Supreme Piano 4 provides is that users can obtain new pianos every month. What is more, the software will also evolve every month. It will be able to stick to one topic, such as Jazz or classical one every month. With this exciting feature, users can feel the freshness of sounds monthly, get more inspiration, and add more creativity to their music.

In Supreme Piano 4, Sound Magic finally is able to provide not only a plugin, but also a full system for music production. We included our mastering system, Neo MasterTool, into Supreme Piano 4. With this multi-effects system, Supreme Piano 4 will not only help its users to get the most professional final sounds, but also provides more possibilities in sounds.

Supreme Piano 4 has a basic handpicked, 8 piano set from 7 world famous piano manufacturers. To ensure best sound quality, Sound Magic had handpicked these 8 pianos from a large piano poll.

Supreme Piano 4 has a MSRP as $999, now has introduction offer as $499 for half year/six months.

More information on Supreme Piano 4 is here:

https://neovst.com/product/supreme-piano-4/

Acorn Amplifiers releases the Circuit Fuzz pedal

With the all new Circuit Fuzz, Acorn Amplifiers has debuted the first effect pedal that provides a bonus effect pedal PCB right on the face of the pedal. Two for one! Perfect for the guitarist interested in building their first effect pedal or a seasoned tinkerer that mods every piece of gear they own. The removable PCB is a simple boost circuit that can be built into a separate pedal or incorporated into the Circuit Fuzz itself. Build instructions available at acornamps.com.

The Circuit Fuzz pedal itself is a deceptively simple yet versatile dual transistor fuzz that sweeps between overdrive, distortion, and fuzz tones with the turn of a single knob. Simplicity in design, yet versatility in action – these are the goals of each circuit designed by Acorn Amps and the Circuit Fuzz is no exception.

Follow this link for a demo of the Circuit Fuzz in action: https://www.youtube.com/watch?v=dQQdZtAcau0

Features include:

  • Hand built and hand wired from start to finish by obsessive compulsiveperfectionists in Atlanta, GA
  • Removable boost effect pedal PCB right on the face of the pedal
  • Two transistor fuzz pedal featuring one silicon transistor and one hand-pickedNOS germanium transistor
  • Assembled entirely with high-quality, audio grade components and ruggedlatching foot switches and metal Switchcraft jacks

The Circuit Fuzz has a street value of $149.00 and is available now at AcornAmps.com and select retailers in the Southeast.
——————————————————————

Acorn Amplifiers is the premier up-and-coming guitar amp and effects pedal company in the Southeast. Also a full service repair shop, Acorn Amps services hundreds of amps each year while still designing and building an ever expanding line of music gear, including tube amps, effects pedals, speaker cabs, and attenuators.

ProducerLoops releases Lush Lo-Fi Anthems Vol. 1 sample pack

‘Lush Lo-Fi Anthems Vol 1’ by Producer Loops is a Hip Hop sample pack that contains the analogue warmth and harmonic distortion that defines the lo-fi aesthetic. Inside, you’ll find 5 construction kits, replete with piano, pads, synths and strings in addition to all the drum hits and FX you’ll need to be grooving to another nostalgic lo-fi beat.

Crafted by a standard-setting producer, this sample pack boasts impeccable sound design paired with undeniable commercial appeal. These somber sounds, often harmonoically distored and tape saturated, capture the idiosyncracies that make the lo-fi vibe so perfectly imperfect.

MIDI Files Included:

Like so many other Producer Loops products, ‘Lush Lo-Fi Anthems Vol 1’ includes MIDI files for the majority of musical phrases heard in each Kit, allowing you to seamlessly mix your favourite synths and samplers with the sounds contained in the pack.
Advantages of MIDI:

While the supplied audio files are extremely flexible and powerful, MIDI has the added benefit of allowing you to go to extremes of pitch and tempo beyond which the loops were originally recorded, with no time stretching or pitch shifting artefacts. Furthermore, you can make tweaks to the riffs so they fit perfectly into your existing mixes.
Dry/Wet Loops:

For users looking to simply drag and drop, the ‘wet’ files contain all of the effects processing heard in the audio demos. But for producers looking to create their own effects mix, ‘dry’ loops are also included. Don’t like the wet loops? No problem; add your own effects.
Unlooped Riffs/Tails:

This sample library also comes with unlooped/tail versions allowing you to end a phrase with the decay of the reverb/delay applied to the loop, another “Producer Loops” exclusive product feature.
Royalty-Free:

All of the loops in this product are 100% Royalty-Free (including the vocal loops), so once purchased, you can use these loops in your commercial releases without having to pay any hidden costs.
Specifications:

• 5 Construction Kits
• ACIDized WAV Files
• Apple Loops/AIFF Files
• Ableton Live 8.1.3 Pack
• Loops sync to BPM
• 44.1 kHz/24-Bit
• PC/Mac Compatible
• Royalty-Free (No Exceptions)

Price and Availability:

‘Lush Lo-Fi Anthems Vol 1’ is available for instant download exclusively at ProducerLoops.com for £29.95 / 33.97 EUR. More information is available at: https://www.producerloops.com

AES helps socially distancing members worldwide listen, learn, and connect

With a global pandemic forcing much of the world into isolation from their normal daily routines and interactions, the Audio Engineering Society recognizes that this is a particularly difficult time for many people in our industry; cancellations and uncertainties are disrupting events and projects around which industry professionals have purposed their lives, livelihoods and professional development. The AES is proud to provide our worldwide membership with a host of educational, insightful and engaging resources that let audio professionals, students and educators “Listen, Learn and Connect” with industry luminaries, mentors and their peers.

For non-members, the Audio Engineering Society is making a three-month membership available for just $25 for those joining between now and the end of March. New members, current and past members can opt to receive 15 months of AES membership for the price of 12 at the annual rate of $125. Both offers expire March 31. Regardless of their renewal date, current members can extend their membership by an additional 15 months with this offer.

Now, more than ever, AES members are encouraged to utilize their free virtual access to AES’s exclusive resources, including thousands of searchable articles in the AES E-Library, the Journal of the Audio Engineering Society, AES Live: Videos, Section News and Reports, Social Media, and much more. AES Members are further encouraged to take the time to create or update their member profile and make it searchable to further enable the audio community to come together and share knowledge and resources.

The AES encourages audio professionals to stay safe but connected – to use this time of limited physical interaction to learn, grow, and have some fun. The AES member portal is the gateway to member resources. AES Headquarters staff are standing by ready to help you should you need them at membership@aes.org or call +1 212-661-8528.

Visit: http://www.aes.org/membership/

AES helps “Socially Distancing” members worldwide “Listen, Learn, and Connect” with access to exclusive online resources and special limited-time membership offer

About the Audio Engineering Society
The Audio Engineering Society, celebrating over 70 years of audio excellence, now counts over 12,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. Currently, its members are affiliated with 90 AES professional sections and more than 120 AES student sections around the world. Section activities include guest speakers, technical tours, demonstrations and social functions. Through local AES section events members experience valuable opportunities for professional networking and personal growth. For additional information, visit aes.org.

Join the conversation and keep up with the latest AES News and Events:
Twitter: #AESorg (AES Official)
Facebook: facebook.com/AES.org

Play guitar effects like musical instruments with Pilot Wave

Step Audio introduces a patented MIDI controller that transforms
hundreds of MIDI-enabled guitar effects into musical instruments,
freeing musicians from the tyranny of tap tempo while vastly expanding
their creative possibilities.

Bend, Oregon — Step Audio today announced the immediate availability of
its latest MIDI controller, Pilot Wave.

Hundreds of guitar effects now allow MIDI control over parameters
including those from Strymon, Chase Bliss, Meris, Eventide, and Line 6.
Pilot Wave takes MIDI-enabled pedals to the next level by dynamically
modifying up to 10 parameters at a time using sequences of up to 16 steps.

While Tap Tempo and MIDI Clock sync are included, Pilot Wave offers 7
unique ways to manually control sequences.  These one-button modes
provide a far more natural and intuitive way to play along with a live
drummer and shifting tempo.  You control the speed of the sequence
rather than it controlling you.

A Quick Start page loads Pilot Wave with 16 fun original presets for
popular pedals including Chase Bliss Condor, Meris’ Enzo and Hedra, as
well as Strymon’s Riverside and TimeLine, with many more to come.

Step Audio’s patented Pilot Wave turns any MIDI-enabled pedal into a
dynamic, rhythmic musical instrument.

Highlights include:

• Pilot Wave can control a single pedal, or up to ten at a time

• Switching presets on-the-fly is simple

• 16 presets are accessible using the pedal, and 128 with an external
MIDI controller

• Up to 6 Program Changes sent at each preset to recall programs on
downstream devices

• Each preset allows up to 10 separate MIDI Control Change (CC)
sequences of up to 16 Steps

• 10 unique playback modes, including 7 manual control modes

• It’s easy to create, edit, and share Pilot Wave sequences using the
Online Programmer

• Because the Online Programmer uses Google Chrome, there is nothing to
download and it works on any computer

• One cable is all it takes to empower your MIDI-enabled pedals. No
mods, no hassle!

Pilot Wave sells for $199, and includes a premium USB-MIDI device as
well as 3 different Step Audio MIDI cables for connecting most devices.

Video preview: https://youtu.be/QU4zc88bWNM

For more information: www.StepAudio.net

Celestion introduces the G10 Creamback guitar speaker impulse response

Celestion, the world’s premier designer and manufacturer of guitar loudspeakers and well-known as the voice of rock and roll behind many of the world’s most memorable guitar performances,  is pleased to announce the addition of the G10 Creamback Impulse Response to its impressive collection of digitally downloadable Celestion Impulse Responses available for audition and download at CelestionPlus.

The G10 Creamback guitar speaker delivers rich classic Celestion Creamback tone in a smaller 10” format. With a ceramic magnet, a 1.75-inch voice coil, and 45-watts of power handling, the G10 Creamback is built using the same production methods and materials developed for the 12” Creambacks; and just like its bigger brothers, the G10 Creamback is hand-built in the UK. Punchy and dynamic, exactly as you’d expect from a 10; its tone is warm, expressive, detailed and well-balanced. Now the G10 Creamback guitar speaker has been captured as an IR, an accurate digital representation which provides all the warmth and detail that guitar players love about the  physical 10” Creamback.

The G10 Creamback speaker impulse response collection includes five different cabinet configurations:
1×10 (open back)
1×10 (closed back)
2×10 (open back)
2×10 (closed back)
4×10 (closed back)

Each one of the cabinet configurations was recorded with painstaking accuracy by our expert sound engineers, in a world-class studio, using three pro-grade studio microphones – the Sennheiser MD421, Royer R-121 ribbon mic and Shure SM57 – each in six different positions (plus a rear mic for the open back cabs). All the positions are referred to in the IR files as Balanced, Bright, Fat, Thin, Dark and Dark 2.  A Neumann TLM107 room mic was also used to provide additional mic mixes, giving users an impressive range of tonal options.

As with all genuine Celestion IRs, the new G10 Creamback impulse responses are downloaded in .WAV format for compatibility with most DAWs, IR plug-ins and amp modelling software.

The new G10 Creamback IRs join the extensive collection of genuine Celestion Impulse Responses, with guitar IRs such as the A-Type,  Celestion Blue,  Celestion CreamCelestion GoldClassic Lead 80Heritage G12H 55HzHeritage G12M, G12 EVHG12K-100G12-35XC, G12T-75,  G12-50GL Lynchback,  G12-H150 Redback, G12M Greenback, G12M-65 Creamback, G12M-75 CreambackG12H Anniversary, G12-65Neo CreambackV-Type,  Vintage 30  and bass impulse responses such as the BL10-100XBN15-400XBN10-200X, BN15-300XPULSE10PULSE12 and PULSE15.

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 (but are not limited to) 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.
www.celestion.com

Spitfire Audio reunites with BAFTA-winning Icelandic composer and producer to reimagine piano as ÓLAFUR ARNALDS STRATUS sample instrument

Spitfire Audio is proud to announce availability of ÓLAFUR ARNALDS STRATUS — seeing the sound-specialising British music technology company readily reuniting with BAFTA-winning Icelandic composer and producer Ólafur Arnalds to closely collaborate on its latest fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Native Instruments’ industry-standard KONTAKT PLAYER sample playback engine as an instantly playable, easy-to-use versatile, multidimensional tool that bends space and time through an intricate network of polyrhythmic piano performances, presented in a bespoke interface made up of eight multi-layered piano and synthesiser matrixes offering unique sonic experiences and detailed customisation options to create awe-inspiring patterns and atmospheric clouds of harmonic refractions that swell and die away, offering a spectrum of emotion — as of March 19…

With a lengthening line of bestselling sample-based virtual instrument library namesakes, including 2015’s ÓLAFUR ARNALDS EVOLUTIONS — embracing unique string quartet textures and long evolving phrases; 2016’s intimate-sounding ÓLAFUR ARNALDS COMPOSER TOOLKIT — recorded on a characterful ‘felted’ grand piano; and 2018’s ÓLAFUR ARNALDS CHAMBER EVOLUTIONS — introducing the BAFTA-winning Icelandic composer and producer’s signature ‘Waves’ strings samples that evolve beneath the player’s fingers, ÓLAFUR ARNALDS STRATUS stands out as Spitfire Audio’s fourth such collaboration, this time bringing about a brand-new, multidimensional instrument, based on Ólafur Arnalds’ acclaimed software: sophisticated MIDI (Musical Instrument Digital Instrument) algorithms programmed to trigger patterns of notes on two identical self-playing pianos. Put it this way: when acute nerve damage suffered following a car accident left him unable to play with his left hand, rather than giving up Ólafur Arnalds was musically motivated to develop intelligent custom software that could trigger self-playing, semi-generative ‘ghost’ pianos, and after spending two years experimenting with programmer Halldór Eldjárn to painstakingly perfect this technology, he incorporated it into his live show — playing an electronic keyboard on stage while his two identical pianos accompanied him to create a cascade of complementary notes and patterns, with each performance unique to each audience. As such, those Stratus pianos also played an integral part in the sound world of his acclaimed 2018 record, re:member. Remember, too, that Spitfire Audio ultimately used this model to create the highly-intuitive and interactive tool that became ÓLAFUR ARNALDS STRATUS, suitably enhanced with unique features, while recording full performances to capture the profoundly emotional, organic nature of the pianos themselves — instantly adding echoes of movement to anything played, pushing players to explore new possibilities.

Collectively captivated by this fantastic fusion of organic, emotive physicality and electronic innovation ingenuity, Spitfire Audio spent several weeks at Ólafur Arnalds’ awe-inspiring studio space in Reykjavik, Iceland capturing his unique-sounding Yamaha DU1E3 felt-dampened pianos in their natural habitat. However, rather than simply sampling single notes, the visiting sound-specialising British music technology company made full recordings of multitudes of polyrhythmic patterns and textures performed by both pianos, triggered simultaneously by algorithms, and carefully curated in close collaboration with Ólafur Arnalds himself. Having opted to close record them using vintage Neumann KM 83 and Coles microphones, plus pristine Millenia preamps, Spitfire Audio’s carefully captured results retained the beautiful resonances, and full dynamic and tonal range of Ólafur Arnalds’ distinctive-sounding pianos, brought to life by trailblazing technology.

The resulting ÓLAFUR ARNALDS STRATUS methodology makes it easy to create nuanced piano-based music from the most simplistic of arrangements. As such, simply holding down a note or chord can result in getting gloriously lost in inspiring unique clouds of harmonic refractions and rhythmic performances as they swell, evolve, and die away — and all at anyone’s fingertips. For those trying to create whatever musical mood they might have in mind, it offers a whole spectrum of emotion, derived from user input — from intimate loops, swells, and textures to intricate rhythms falling like rain, and dreamy, expansive soundscapes.

So how, exactly, does ÓLAFUR ARNALDS STRATUS do what it is that it does so well? Well, simply speaking, it works by taking a single note and repeating it according to a curated rhythm, splitting the rhythm between the two self-playing pianos while at the same time relocating the note up or down the octave based on a curated level of randomness that chooses whether or not the octave should jump. Whereas Spitfire Audio’s acclaimed Evo Grid technology — implemented so successfully in so many of its sample-based virtual instruments libraries — is triggered by note range, ÓLAFUR ARNALDS STRATUS introduces a bespoke interface featuring eight 8×8 instrument matrixes complete with up to five Z-Axis layers — namely, 01A MATRIX – RHYTHMIC WAVES (tempo-synced rhythms with a gradual attack/swell); 01B MATRIX – RHYTHMIC ATTACKS (tempo-synced rhythms with a strong attack); 02 MATRIX – LOOPED RHYTHMS (tempo-synced loops); 03 MATRIX – SWARMS (non tempo-synced swarm-like textures); 04 SYNTH MATRIX – LOOPED RHYTHMS; 05 SYNTH MATRIX – SWARMS; 06 SYNTH MATRIX – LOOPED RHYTHMS: SHORTS 1; and 07 SYNTH MATRIX – LOOPED RHYTHMS: SHORTS 2. Although all are specially curated by Ólafur Arnalds himself, the user controls how these combinations of harmonic elements develop — both by what they play, and with extensive built-in customisation options, as well as a comprehensive range of effects, including CONV. (convolution) REVERB, DELAY, FILTER, and TAPE SAT. (saturation). The first four (piano-based) matrixes capture the stunning organic sounds of Ólafur Arnalds’ pianos, panned across the stereo field — Stratus Piano – Centre, Stratus Piano – Left, and Stratus Piano – Right — to give a true representation of the pianos in their space, seamlessly blended into one, while the other four (synthesiser-based) matrixes employ the same technology to create similar patterns, with stunning tempo-locked rhythmic loops made using Olafur Arnalds’ classic Korg PS-3100 — a monstrous 48-note polyphonic, patchable analogue rarity — and dreamy swarm-like textures from his beloved Juno-60 programmable analogue polysynth. The Randomise bar features experimental controls to further randomise ÓLAFUR ARNALDS STRATUS’ behaviour, taking advantage of the library’s generative nature.

Needless to say, Spitfire Audio being Spitfire Audio, that’s not all. Augmenting that bespoke Stratus user interface — designed for the selection and playback of samples on a per-voice basis — is the sound-specialising British music technology company’s tried and tested Mercury marvel, another ingenious interface including a range of organic sounds and specially curated warped sounds (WARPS). With that in mind, all controls therein are assignable to external control surfaces, so users can quickly make Spitfire Audio’s already created sounds their own.

On the face of it, then, ÓLAFUR ARNALDS STRATUS’ versatility lends itself to solo compositions, as well as adding texture and unpredictable elements to orchestral libraries, and complementing the libraries in Spitfire Audio’s acclaimed ÓLAFUR ARNALDS… series. All are a must-have for musicians and composers looking to create beautiful, progressive, hybrid ensemble music influenced by the Scandi Noir movement. Making room on a hard drive for ÓLAFUR ARNALDS STRATUS is like rooming at Ólafur Arnalds’ awe-inspiring studio space and invading the keen experimenter and innovator’s headspace — albeit without travelling to Reykjavik, inspirational in itself as it undoubtedly is!

ÓLAFUR ARNALDS STRATUS can be purchased and digitally downloaded for a time-limited introductory promo price of £199.00 GBP (inc. VAT)/$249.00 USD/ €249.00 EUR (inc. VAT) until April 9, 2020 — rising thereafter to an RRP of £249.00 GBP (inc. VAT)/$299.00 USD/€299.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/olafur-arnalds-stratus/ (Note that owners of ÓLAFUR ARNALDS EVOLUTIONS, ÓLAFUR ARNALDS COMPOSER TOOLKIT, and/or ÓLAFUR ARNALDS CHAMBER EVOLUTIONS save an additional 5% off the ÓLAFUR ARNALDS STRATUS introductory promo price per product already owned; ÓLAFUR ARNALDS THE COLLECTION — a bundle featuring all four of Spitfire Audio’s acclaimed ÓLAFUR ARNALDS… series sample-based virtual instrument libraries — is also available at an attractive 35% saving until April 9, 2020 from here: https://www.spitfireaudio.com/shop/a-z/olafur/)

ÓLAFUR ARNALDS STRATUS needs Native Instruments’ KONTAKT PLAYER (5.6.8 or higher) — a free version of the KONTAKT sample playback engine (included in its purchase) — to run as a fully NKS (NATIVE KONTROL STANDARD®) supporting plug-in instrument for Mac (OS X 10.10 or later) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

For more in-depth information, including some superb-sounding audio demos by Spitfire Audio co-founder and composer Christian Henson and others, please visit the dedicated ÓLAFUR ARNALDS STRATUS webpage here: https://www.spitfireaudio.com/shop/a-z/olafur-arnalds-stratus/

Watch Ólafur Arnalds himself reveal the story behind ÓLAFUR ARNALDS STRATUS here: https://youtu.be/uhxAvweQ_tU

Watch Spitfire Audio co-founder and composer Paul Thomson’s ‘traditional’ walkthrough of ÓLAFUR ARNALDS STRATUS here: https://youtu.be/3NTGPJlQDU4

Watch Spitfire Audio co-founder and composer Christian Henson’s composing with ÓLAFUR ARNALDS STRATUS video here: https://youtu.be/MBBJ8kfeYGE

Lose track of time while watching Spitfire Audio’s awe-inspiring trailer video for ÓLAFUR ARNALDS STRATUS sympathetically scored by ‘composer-in-residence’ Homay Schmitz here: https://youtu.be/1GFdcPleKMw

About Spitfire Audio (www.spitfireaudio.com)

Spitfire Audio is a British music technology company that specialises in sounds — sample libraries, virtual instruments, and other useful software devices. It collaborates with the best composers, artists, and engineers in the world to build musical tools that sound great and are exciting to use.

© 2020 Spitfire Audio Holdings Limited 

Subwoofer Pros release ultra compact Studio Sub 10 with response down to 16 Hz

TransAudio Group, the U.S. distributor of high-end, professional recording equipment, is pleased to announce the new Subwoofer Pros Studio Sub 10, an ultra-compact 12” x 14” x 11.5” subwoofer with remarkably low distortion, an even frequency response, and an adjustable HF cutoff to work seamlessly with any size nearfield monitor. The sealed (i.e. not ported) and self-powered Studio Sub 10 produces high-fidelity bass reproduction down to 16Hz, and it is small enough to place anywhere in the control room in singles or multiples for different output volume and/or room mode taming. In an era where consumer playback systems have increased low end, the Studio Sub 10’s brutally honest bass reproduction will allow engineers to more quickly create accurate recordings without guesswork.

“Other subwoofers sacrifice accuracy for volume or are way too large to fit in a typical control room,” explained Brad Lunde, founder and president of TransAudio Group. “In contrast, the Subwoofer Pros Studio Sub 10 is purpose-built to produce flat, faithful low end between 16Hz and anywhere from 40Hz to 95Hz, depending on how the user sets it on the control. It’s really small for a sub, so they can fit anywhere. The Studio Sub 10’s competitive price point makes it possible to enjoy the sonic benefits of a distributed multiple sub system. Multiple Studio Sub 10s provide more accurate performance with several room locations versus a single subwoofer system using a single location.

Made in the USA, the Subwoofer Pros Studio Sub 10 uses a single ten-inch, high-excursion driver powered by a linear 300W amplifier and has a selectable low pass filter at 40, 60, 80, and 95Hz. A phase switch, a volume knob, and dual summing XLR line-level inputs make it easy to situate the Studio Sub 10 in any control room. A dynamic filter provides overload protection and the 95Hz filter setting includes INFRA technology enabling extended LF without a port. Weighing in at a modest 29 pounds, the Studio Sub 10 is capable of generating 93dB SPL at 1 meter at 40Hz.

The Subwoofer Pros Studio Sub 10 price is $1750 MAP in the U.S., and they are now available.

ABOUT TRANSAUDIO GROUP

TransAudio Group, founded by industry veteran Brad Lunde, has quickly become the premier U.S. importer/distributor and/or U.S. sales and marketing representative for high-end audio. Success hinges on TransAudio providing dealers and end users with a higher standard of product expertise and support far beyond the norm.

www.transaudiogroup.com

Lectrosonics introduces the next generation IFBR1B miniature IFB receiver and CHSIFBR1B companion dock charging system

Lectrosonics is pleased to announce the introduction of a new miniature IFB (Interruptible Foldback) Receiver pack, the IFBR1B, as well as the companion CHSIFBR1B Dock Charging System. The next-generation receiver unit is nearly half the size and weight of the industry-standard IFBR1A receiver that it is replacing and uses a slim 3.7V LB-50 rechargeable lithium ion battery instead of the archaic 9V type. The new IFBR1B is fully compatible with the existing line of IFBT4 transmitters, so that adding the convenience and new features of the IFBR1B receivers to existing Lectrosonics IFB systems is quick and easy. With a backlit LCD and membrane buttons, the new receiver is easy to set up and use, offering 10 presets which are easily programmable from the front panel.

Five tuning ranges are available for the new IFBR1B receiver: the VHF version (red knob) covers 174-216 MHz, the A1 (470-537 MHz), B1 (537-614 MHz) and C1 (614-692 MHz) versions (blue knob) cover the UHF TV frequencies for most countries, and the 941 Band version (black knob) covers the North American license-only 941-960 MHz range. Future firmware updates can be installed in the IFBR1B in the field via the USB jack on the bottom of the unit. The IFBR1B comes standard with a wire belt clip for light weight and easy placement. An optional “clamp” style belt clip, part number IFBR1BBCSL, is also available, and easily installed with two small screws.

The system’s new companion dock charging system, the CHSIFBR1B, is capable of charging up to four receivers or four batteries in any combination. The charging dock can be also be ganged in groups of up to four, powered by a single power supply, allowing charging any combination of up of to 16 units or 16 batteries.

“Building upon the years of success of the IFBR1A, Lectrosonics is responding to input from our valuable customers who have been asking for a smaller unit with dock charging capability and some additional convenience features,” explains Karl Winkler, VP of Sales and Marketing at Lectrosonics. “We are very pleased to announce our new IFBR1B receiver to meet those needs.”

The new IFBR1B receiver pack and CHSIFBR1B charging system will be available in Q2, 2020. MSRP for the receiver pack is $996, and the charging dock is $665 (not including power supply). Available in April 2020.

About Lectrosonics
Well respected within the film, broadcast, and theatre technical communities since 1971, Lectrosonics wireless microphone systems and audio processing products are used daily in mission-critical applications by audio engineers familiar with the company’s dedication to quality, customer service, and innovation. Lectrosonics received an Academy Scientific and Technical Award for its Digital Hybrid Wireless® technology and is a US manufacturer based in Rio Rancho, New Mexico. Visit the company online at www.lectrosonics.com.

Polyend Tracker reboots retro form factor of software past with forward-looking functionality as world’s first hardware tracker

Famed for bringing new technologies to creative musicians by building innovative and unique musical instruments, Polyend is proud to announce availability of Tracker — effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot — as of March 18…

For the benefit of the uninitiated, a music tracker — tracker, for short — is a type of sequencing software. Speaking historically, the tracker term itself is derived from the first tracker software, Ultimate Soundtracker, starting life as a game sound development tool released for the Commodore Amiga personal computer back in 1987. The first trackers supported four pitch and volume modulated channels of 8-bit PCM (Pulse Code Modulation) samples, a limitation imposed by the Amiga’s audio chipset. Classic trackers represented music as discrete notes positioned in individual channels at discrete positions on a vertical timeline with a number-based user interface. Indeed, notes, parameter changes, effects, and other commands were entered via computer keyboard into a grid of fixed time slots as codes comprising letters, numbers, and hexadecimal digits — the latter being a positional system representing numbers using 16 distinct symbols. Saying that, those in the know appreciated the immediacy and simplicity of classic tracker software, if not necessarily those hexadecimal digits! One thing’s for sure, though: tracker software has exerted its influence on modern electronic music with influential IDM (Intelligent Dance Music) artists like (Aphex Twin alias) AFX, (Polish-American) Bogdan Raczyński, Brothomstates (a.k.a. Lassi Nikk, Finnish composer), Machinedrum (a.k.a. Travis Stewart, American electronic music producer), and Venetian Snares (a.k.a. Aaron Funk, Canadian electronic musician), to namecheck but several so-called ‘demo scene’ movers and shakers skilfully orbiting around those tricky trackers. That said, some might say that trackers need not be so tricky in this day and age. And it is this thinking that led to Polyend’s trailblazing Tracker.

The timely arrival of the aptly-named Tracker puts Polyend in pole position for blazing a new trail, tooled to take the tracker concept to a new level of innovative, inspirational, and immediate music-making by effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker. Thankfully, Tracker waves goodbye to hexadecimal hysterics — not only did those entering the brave new world of classic trackers not necessarily know what those values actually represented, they could not see what was affected by them. Thinking inside its beautifully-engineered box, Tracker instead implements a simplified system of readable decimals that also shows the effects parameters when those decimals are entered in a frenzied fast track to creativity.

Tracker takes the quintessential characteristics of a classic tracker — the vertical timeline, powerful sequencer, and mechanical keyboard — and cleverly combines them with a newly-designed input interface, divided into several sections: a (high resolution, crisp, and bright) big screen and associated screen keys — mechanical controls that always correspond to what is displayed on the screen directly above them; the grid — featuring 48 backlit multifunctional silicon pads for quick note and pattern value entry and visual feedback (while also acting as a highly-customisable keyboard controller with editable scales); function keys — for fast and responsive control over all functions and options; plus navigation keys and associated (metal-manufactured) jog-wheel (with haptic feedback for fast scrolling or precise adjustments) — for facilitating transport control alongside arrow keys for navigation control, as well as dedicated Insert, Copy/Paste, Delete/Backspace, and Shift keys. All are at hand, helping to streamline making and performing music in a new and innovative way — without having to leave the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot.

Better still, the classic tracker look of that dominating (default) screen — showing (up to) 48 instruments and 256 patterns with a maximum of 128 steps per pattern per project — belies an infinite source of inspiration. Indeed, Tracker comes complete with a wide variety of onboard sound design tools to enhance creativity still further for those wishing to take it to the limit. Let loose with Instrument — a chain of tools (Volume, Tuning, Panning, Filters, Reverb Send, and ADSRs) to make an instrument from any sample; Sampler — choose from different (1-shot, Forward, Backward, and Ping-Pong) play modes; Slicer — slice samples manually, or let Tracker take care of it ‘automagically’ at any time; Wavetable — full-blown wavetable synthesis with variable table length to make it compatible with the most popular (Ableton Wave and Serum) standards; Granular — single grain yet very powerful granular synthesis to create crazy and futuristic sounds from old and boring samples; Sample Editor — built-in precise offline rendering sample editor with multiple effects; and Sample Recorder — records up to two minutes of 16-bit/44.1kHz samples using built-in Radio, Pattern selection, Mic or Line In inputs, all of which can be saved to the included (16GB) MicroSD card for later use or loaded directly into a project. Put it this way: with Tracker, users can quickly and easily use existing sample libraries, record new ones, or use the built-in FM (Frequency Modulation) radio. Record samples, play them, slice them, mash them, or even make a synth out of them!

Tracker also plays nicely with other instruments. Thanks to its bidirectional MIDI (Musical Instrument Digital Interface) implementation, it can be used to sequence and control external gear or be controlled as a sound module by any external MIDI software or hardware devices. Whatever way anyone chooses to use it, armed as it is with an impressive arsenal of sonic weaponry — including automatic filling, randomiser, probability, selection rendering, effects per step, live recording, batch parameter editing, micro-tuning, micro-timing, rolls, and much more besides — it has what it takes to be a surefire hit, harbouring endless creativity. Compatibility with MOD files — a computer file format primarily used to represent music, made up of a set of instruments (in the form of samples), a number of patterns (indicating how and when the samples are to be played), and a list of what patterns to play in what order — allows users to import and finish tracks from way back when or export and finish their Tracker creations in modern-day software trackers.

The world’s first hardware tracker is slick, light, and portable. It is also energy efficient, so will work with any USB (Universal Serial Bus) power source. Sturdy and compact, the retro form factor of software past with forward-looking functionality makes for a great music creation companion — in the studio, on the run, or on stage. Simply put, Polyend’s Tracker puts everything right on track as a ‘back to the roots’ experience like no other!

Tracker comes complete with a USB-A power adapter, 2m USB-C cable, 3.5mm to 2x 6.3mm adapter, Minijack to MIDI DIN adapter, 16GB MicroSD card, and MicroSD to USB-A adapter, and is available to purchase through Polyend’s growing global network of authorised dealers (https://polyend.com/where-to-buy/) at an MSRP of €499 EUR/$599 USD. Or order online directly from Polyend itself via the dedicated Tracker webpage (https://polyend.com/tracker/), which also includes more in-depth information.

Watch Polyend’s intriguing introduction to Tracker here: https://youtu.be/Pl4Kiwjwkh4

About Polyend (www.polyend.com)

Located in the Land of a Thousand Lakes in northeastern Poland, Polyend was founded in 2015 by current CEO Piotr Raczyński. As a team of dedicated professionals comprising coders, designers, musicians, and technicians, the company is collectively committed to bringing new technologies to creative musicians by building innovative and unique musical instruments. Polyend pushed boundaries from the outset with its first product, Perc, a set of mechanical beaters that can be controlled via MIDI, allowing anyone to play real drums, percussion instruments (or any other inanimate object) from a DAW, drum machine, or MIDI controller. An acclaimed product pairing followed suit soon after — namely, Seq, a highly-intuitive MIDI hardware step sequencer with 32 steps, eight-track polyphony, and 256 patterns, pleasingly housed within a high-quality aluminium and wooden casing, and Poly, a polyphonic MIDI-to-CV Eurorack module boasting a multitude of connectivity options to play nicely with all manner of sequencers, DAWs, keyboards, apps, and more. More recently, a close collaboration with Greek boutique analogue synthesizers and effects developer Dreadbox resulted in the Medussa Hybrid Synthesizer, a symbiosis of classic synthesis characteristics and a unique digital controller, while a subsequent trio of extraordinary Eurorack modules — Anywhere, Poly 2, and Preset — foretell of a future Polyend modular system. Fast-forwarding to today,Tracker effectively extracts the best bits of yesteryear’s tricky tracker software classics and reboots them with forward-looking functionality as the world’s first hardware tracker. Polyend’s proven track record of bringing so many distinctive design ideas to market in such a short space of time surely speaks for itself as the creative company continues to innovate with so much more to come.

© 2020 Polyend