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  1. PRESSRELEASE Zero-G announce the release of Northern Lights Pad Machine – with a 20% intro offer until 6th Sept get it for £44.95+vat/€48.95+vat/$52.95! Northern Lights Pad Machine is a truly inspiring and creative pad machine for Kontakt - the most complex and creative pad instrument ever made! This extremely powerful multilayered Kontakt instrument is capable of creating the most stunning and epic of soundscapes with infinite possibilities. The sounds are truly inspirational and are sourced from rare synthesisers to metal and sounds from the Norwegian natural environment. Put simply - if you love epic pad sounds and soundscapes, Northern Lights Pad Machine is definitely for you! With almost 6GB of brand-new content, this incredible Kontakt instrument has been created with one thing in mind - to create the most amazing pad sounds ever made! Whether you are a TV, film soundtrack or pop composer, noise artist, experimental musician or just a hobby musician you will find something truly new and inspiring in this mammoth of a library. You'll get a powerful set of controllers, specifically designed to inspire and create complex pad sounds and soundscapes which you can manipulate the complexity, movement and colour of the sounds. Not forgetting the incredible Storm function, which shakes up the sound in different ways using distortion, effects, LFO, controllers and saturation. The interface is clear and intuitive and the sonic complexity is delivered through the simplicity if it’s design. Furnished with a broad set of presets, from airy, evolving to arpeggiated and modulated to metallic, dirt and complex and of course all of these can be edited to create something entirely new and really very unique. With an introductory discount until 6th September it is available to buy today for just £44.95/48.95/$52.95. For full product details please visit: https://zero-g.co.uk/products/northern-lights-pad-machine
  2. PRESSRELEASE LONDON, UK: Spitfire Audio is proud to announce availability of SYMPHONIC ORGAN — achieving the hitherto unachievable sound of the organ in imaginations to access those powerful cinematic sonics popularised by blockbuster film scores such as 2001: A Space Odyssey, Interstellar, and Tron, courtesy of an immensely powerful, cathedral-sized organ built into Rugby School Chapel, creating an epic but immediate sound like no other, professionally captured and creatively presented as a definitive library like no other, comprising carefully curated, ready-to-play presets perfect for fitting well with the sound-specialising British music technology company’s other SYMPHONIC range releases already available for Native Instruments’ KONTAKT sample playback engine — as of August 22… Watch Spitfire Audio co-founder Paul Thomson’s ‘traditional’ video walkthrough of SYMPHONIC ORGAN here It is little wonder, then, that as soon as Spitfire Audio co-founder and composer Paul Thomson heard (and felt) the Rugby School Chapel organ — housed in one of the oldest independent schools in Britain’s polychromatic chapel designed in 1875 by well-known Victorian Gothic revival architect William Butterfield, he knew he had to sample it. In fact, Spitfire Audio had to sample it! Heard in the opening sequence to American animator, artist, director, filmmaker, and writer Tim Burton’s 2007 Academy Award-winning mystery thriller, Sweeney Todd: The Demon Barber of Fleet Street, the contrast of this monstrous, cathedral-sized organ — featuring four manuals (keyboards) with 55 speaking stops (controls) and a total of 3,721 gilded pipes — with its intimate chapel setting creates an epic sound with a unique intensity and immediacy unlike any other. Obviously capturing the unique power and beauty of this impressive instrument built by Bray’s Kenneth Jones & Associates in 2001 with a 33-feet-high new oak case substantially in front of the existing organ chamber at the north side of the chancel to enable the organ itself to speak directly into the chapel was far from easily achievable. As such, Spitfire Audio’s crack team of engineers and developers collaborated closely with world-renowned composer, producer, and organ expert Andy Richards — whose decisive discography spans working on fashionable films scores, such as the aforesaid Sweeney Todd: The Demon Barber of Fleet Street (music engineer, score mixer, organ, and additional music) and the Danny Boyle-directed, 2008 Academy Award-winning British drama Slumdog Millionaire (score mixer), as well as performing, programming, and producing an array of records by iconic artists like Frankie Goes To Hollywood, Grace Jones, George Michael, Pet Shop Boys, Rush, and much more besides — to record every pitch of the Rugby School Chapel organ with multiple microphone positions to achieve authenticity as well as capturing the natural sound of the room with which it interacts architecturally. Also working with celebrated organist James Williams, who regularly plays the organ in question as the Head of Academic Music at Rugby School, Spitfire Audio was able to conduct detailed exploration and experimentation to ensure that it got the very best out of the impressive instrument and its stunning surroundings. Since the Rugby School Chapel organ has an (almost) endless combination of stops and pedals, it can clearly be overwhelming for anyone not familiar with its intricacies. Fortunately for its users, Spitfire Audio’s SYMPHONIC ORGAN library leans heavily towards instant playability, putting a comprehensive range of readymade stop combinations created by Andy Richards and James Williams into anyone’s hands. Having the hard-won outcome of such specialist curation readily at hand saves a huge amount of time and energy, enabling anyone to get the very best out of the impressive instrument and its stunning surroundings into DAWs (Digital Audio Workstations) worldwide, with inspired compositions (hopefully) flowing forth for all to hear. Helpfully, SYMPHONIC ORGAN users can choose from 16 Manual (stop) combinations, 13 Pedal combinations for achieving that sub-bass-like sound, and eight Ensembles that span the whole organ. On top of that, the carefully captured natural room sound spans the (default) curated mix through to mix-and- matching six professionally-placed microphone positions for further control. Choices range from mics inside the organ itself for an amazing, full-tilt sound to ambient mics for a wider, more resonant tone. The layout is presented in dynamic order — from quietest to loudest, created by stop presets, and it is possible to choose any or all of the stop combinations, as well as 50 mind-bending, warped presets presented in Spitfire Audio’s acclaimed eDNA engine! “SYMPHONIC ORGAN is the sound of the organ in your imagination that you’ve never been able to achieve; we’ve done all of the hard work, so you can just open and play — everything from beautifully soft lyricism to ear-shattering power,” proudly proclaims impressed instigator Paul Thomson. SYMPHONIC ORGAN can be purchased and digitally downloaded for a time-limited introductory promo price of £149.00 GBP (inc. VAT)/$179.00 USD/ €179.00 EUR (inc. VAT) until September 12, 2019 — rising thereafter to an RRP of £199.00 GBP (inc. VAT)/$249.00 USD/€249.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/symphonic-organ/ SYMPHONIC ORGAN needs Native Instruments’ KONTAKT PLAYER (5.6.8 or higher) — a free version of the KONTAKT sample playback engine (included in the 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 superb-sounding audio demos, please visit the dedicated SYMPHONIC ORGAN webpage here: https://www.spitfireaudio.com/shop/a-z/symphonic-organ/
  3. PRESSRELEASE August 22, 2019 - IK Multimedia is proud to announce AmpliTube Brian May for Mac/PC, iPhone and iPad. Both feature precise models of the exact live and studio gear used by the legendary guitarist from the iconic band Queen - all recreated in collaboration with Brian May himself. From Brian's treble booster to his three-amp live setup and carefully curated effects selection, guitarists can enjoy new amp, cab and stompbox models in a convenient package, along with presets covering his celebrated discography. Each model was created with the supervision of Brian May and his long-time technical team, to carefully replicate his rig. A key element of Brian's distinct sound comes from his Red Special guitar that, famously, he hand built with his father in the 1960s from spare parts and household materials. Because the guitar is such an integral part of his rig, IK's engineers went the extra mile to even create a new stompbox effect that helps simulate the Red Special's tone and controls. This offers guitarists a more authentic musical experience that pays homage to this living legend. Included are unique offerings such as a new pedal modelling Brian's Red Special guitar and a model of the one-of-a-kind, home-built "Deacy" Amp (with user adjustable battery power!) originally created by Queen bassist John Deacon, after modifying an old radio. Other highlights incorporate his famous triple-amp live setup; tone-shaping effects; and even a harmonizer for nailing those Queen stacked leads in a single take. Amplifiers Based on the classic triple VOX® AC30™ setup, the BM 30 offers three amps with the effects chain in a Wet-Dry-Wet configuration to match Brian May's iconic setup. The BM DK is a model of the small "Deacy" amp that became the trademark sound of many Queen songs. Cabinets The 2x12 BM 30 Blue (named the 2x12 BM1 in the Brian May collection for iOS) is a triple cabinet based on the cab section of a VOX AC30 equipped with with Celestion™ Alnico Blue speakers. The 2x12 BM 30 H70 (2x12 BM2 in the Brian May collection for iOS) is with Celestion G12H Anniversary speakers. In addition, the 1x6 BM DK provides the cabinet section of the BM DK amp, featuring a 6" speaker. Stompboxes The Red Special, created from a detailed study of Brian May's famous guitar, helps add the unique tonality and controls of the Red Special itself. Based on the original KAT® Treble Booster, the Treble Booster enriches guitar tone similar to Brian May's by boosting it before it reaches the amp. May Wah was based on a rackmount Dunlop® Cry Baby® wah, modelled in the exact configurations Brian May uses to shape his tone, while the FOX Phaser was based on the unique and distinctive sound of the fOXX® Foot Phaser. Star Gate is a noise gate that helps clean up the signal chain, minimizing the noise feeding Brian's unique amp and pedal setup. The iPhone and iPad version, the Brian May Collection (which is inside the existing AmpliTube app) also adds the 30 - a 30-band Graphic EQ, with +/- 15 dB boost per band and a+/- 15dB Level control, to help craft a more exact match of Brian's tones. This pedal is already included for free in AmpliTube Custom Shop for Mac/PC. Discography presets A full set of painstakingly created song-based discography presets were compiled by Jamie Humphries, guitarist for the official Queen stage production "We Will Rock You", who has also performed with Queen and Brian May. These presets allow users to dial up their favourite Brian May tones instantly and were constructed under Brian's personal supervision. Groundbreaking Modelling Technology IK's latest Dynamic Interaction Modeling™ was used to deliver the highest level of ultra-realistic sound when modelling Brian May's gear. The product of 20 years' experience modelling analogue gear, DIM™ models the behaviour of every component in the circuit all the way down to its smallest nuance and character. Applied to May's rig, it delivers the same sound and feel as his real gear. About AmpliTube guitar and bass tone studio AmpliTube is the world's most powerful guitar and bass tone studio for Mac/PC/iPhone/iPad. Available in both free and paid versions, it recreates the entire guitar/bass signal chain from instrument to recording device in a hyper-realistic and intuitive way. Users can also browse and purchase collections of gear models from the world's top gear manufacturers plus signature artist gear. AmpliTube is available for both Mac/PC, as a stand-alone and plug-in for most popular recording software, and app for iPhone and iPad. Easy connection to AmpliTube AmpliTube connects seamlessly with AXE I/O, IK's premium audio interface with powerful guitar shaping tools. AmpliTube is also compatible with IK's iRig Stomp I/O, iRig Micro Amp, iRig HD 2, iRig Pro I/O and iRig Pro Duo portable audio interfaces for fast connectivity and on-the-go convenience. Options, pricing and availability AmpliTube Brian May (for Mac/PC) runs inside AmpliTube Custom Shop, a free download available to all. The new models are available now for purchase as a bundle from the Custom Shop, the IK Multimedia online store and from IK authorized dealers worldwide for $/€99.99 (excl. taxes). No previous purchase of AmpliTube is required. The new models will show up as an optional purchase for existing users of AmpliTube 4 upon updating to the latest version. The Brian May Collection (iPhone and iPad) is available via in-app purchase from within AmpliTube CS for iPhone or iPad, for $19.99. Individual models may also be purchased a la carte (Stomp FX - $3.99 each; amps - $6.99 each). All models are also part of IK's All-In Bundle 2019 collection, which is available for in-app purchase. For more information about AmpliTube Brian May and the Brian May Collection, please visit: www.ikmultimedia.com/brianmay
  4. PRESSRELEASE NASHVILLE, TN (August 20, 2019) By acknowledging its iconic past and leaning into the innovative future, Gibson, the legitimate leader in professional instruments proudly presents the Eric Clapton 1964 Firebird I. A pre-sale will officially begin on August 20, all Gibson Eric Clapton 1964 Firebird I guitars will be sold through Guitar Center and on GuitarCenter.com in the United States as well as through select International Gibson dealers, visit www.gibson.com for further details. In the 1960’s and 70’s, Eric Clapton’s use of a Gibson Firebird represented some of the most inspired, fiery and influential playing of his legendary career. Although Eric had previously played a Les Paul ES-335 and an SG, it’s always been the 1964 Firebird I that Clapton remembers as being a truly outstanding guitar. “I remember one night in particular with the Firebird,” explains Eric Clapton. “It was a Cream show in Philadelphia, and it was one of the greatest gigs I ever played.” Gibson Custom Shop is proud to present this limited-edition reissue of Clapton’s famous Firebird, made using authentic construction methods and precise dimensions scanned from vintage 1964 Firebird models. Every Eric Clapton 1964 Firebird I guitar is outfitted with a newly-developed Alnico V Firebird pickup to recapture the scorching output and searing tones of the original. Each 1964 Firebird I will also feature an Eric Clapton signed backplate, a replica of the strap he used, a reproduction of the guitar's original case, a Certificate of Authenticity booklet and more. A limited quantity of Eric Clapton 1964 Firebird I guitars will be sold through Guitar Center in the United States as well as select International Gibson dealers. The release of the Gibson Eric Clapton Firebird I will launch simultaneously with the 2019 Crossroads Guitar Festival in Dallas, TX, taking place Friday, September 20 andSaturday, September 21. At the festival, the limited-edition guitar will be displayed in the Guitar Center Village alongside the Gibson ES-335 guitar used by Eric Clapton on numerous landmark recordings, including the enduring Cream hit and festival namesake“Crossroads.” Read more here
  5. PRESSRELEASE New York City, NY, August 14, 2019: Electro-Harmonix introduces the Mod 11 with 11 modulation styles ranging from classic to exotic, all housed in a compact pedal. It includes tap tempo controllable via the built-in footswitch or an external one, and Momentary Mode which enables you to seamlessly switch in and out of effects mode for a quick accent. The Mod 11’s modulation types are: TREM – Tremolo modulates your signal’s volume. Selectable modes allow your playing envelope to control modulation rate or depth. HARM– Harmonic tremolo. The signal is split into high and low frequency bands and modulated between the two. Selectable modes allow your playing envelope to control modulation rate or depth. VIBR – Vibrato modulates your instrument’s pitch. Selectable modes allow your playing envelope to control modulation rate or depth. UNI – pays homage to the classic Univibe®. Includes “Chorus” and “Vibrato” modes plus added overdrive CHORUS ­­– Warbling, doubling, chorus effect like the EHX Small Clone. Extra modes include tri-chorus and bass chorus effects ROTARY – Rotary speaker cabinet simulation. Extra functionality includes overdrive plus envelope control over rotation speed FLANGE – Flanging with modes for both additive and subtractive flanger. Multiple LFO shapes, including envelope follower TZF – Through Zero Flanger. A flanger effect that crosses through the “zero point” of the sweep where the modulated delayed signal meets back with the dry signal. Modes for both additive and subtractive flanger, plus barber-pole flanger PHASE – Choose from 4, 6, or 8 stage phaser. Multiple LFO shapes including envelope follower PITCH – Modulated pitch shifter. Select your main pitch shift and modulate around it. Extra functionality includes a dry blend and stepped pitch modes FILT – Modulated filter effects like those on classic analog synths. Low Pass, High Pass and Band Pass. Multiple LFO shapes available including a Q-Tron style envelope follower. The Mod 11 also features powerful yet intuitive “hidden” parameters accessible thru its Secondary Knob Mode that enable the player to take greater control over its effects. The pedal comes equipped with a EHX 9.6DC200mA power supply, is available now and features a U.S. Street Price of $151.00 Read more here: https://www.ehx.com/products/mod-11
  6. PRESSRELEASE Loopcloud 5 inspires the next evolution in music production. With plugin instruments, effects and cloud storage, Loopcloud release their biggest update ever. Matt Pelling, founder and owner of Loopcloud said: “With Loopcloud 5, producers will be able to push the boundaries of music production. We’re enhancing the creative journey for producers, whilst making sure that the process is fun. Sourcing, auditioning and editing sounds couldn’t be any faster. Essentially, every part of the software is designed to inspire creativity and encourage originality.” Inspiring originality The software will help producers create original sounds - faster than ever. The latest release includes two new plugin instruments: Loopcloud Drum and Loopcloud Play. These collections contain thousands of sounds and instruments which have been curated by top artists and exclusive labels. Loopcloud’s brand new interface has a compact view, ideal for split-screen use. The updated software allows users to search for sounds whilst they work - without breaking their flow. They can also try out effects and edits on samples whilst auditioning them. Importantly, they can do it before purchasing. All Artist, Studio and Professional users will have storage space within the system, saving valuable space on their hard drives. The producer’s entire sound collection can be tagged along with the rest of Loopmasters’ extensive catalogue. Every sound they need - all in one place. A browser-based version of Loopcloud will be released soon which allows users to log in from anywhere. While users can still enjoy the free version of Loopcloud, the subscription version has a comprehensive feature set. A free 30 day trial is available which includes 300 points to use on sounds from the extensive Loopmasters catalogue. Loopmasters, the parent company of Loopcloud, has also teamed up with Beatport, the world’s leading digital music store for DJs. Later this year, Loopcloud will be available directly from the Beatport website. Read more here: https://www.loopcloud.com/cloud/
  7. PRESSRELEASE Brooklyn, NY (August 13, 2019): Pro Sound Effects®, the next level sound effects library company, today released The Odyssey Collection: Foley Effects – the newest exclusive sound library from their partnership with Academy Award®-winning sound editors Mark Mangini (Blade Runner 2049, Mad Max: Fury Road) and Richard L. Anderson (Batman Returns, Edward Scissorhands). Odyssey Foley Effects provides clean, natural recordings of everyday actions for seamless integration into your projects. With over 4,500 sounds, this collection features a huge variety of props, footsteps, surfaces, and variations of each sound so that you’re covered for all types of character movement. “Foley” is the act of recording sound effects performed in-sync to picture, often on a Foley stage using various props. These are the generic sounds of common items a character might interact with in a scene, or not captured during filming, such as footsteps, newspaper rustle or a teacup rattle. In the case of this library, these Foley-like sounds were recorded by Mangini and Anderson to fill out temporary mixes while creating the sound for hundreds of major feature films and TV shows. “Much of what constitutes this library are wild sounds that Richard and I recorded because we didn’t have Foley yet,” says Mark Mangini. “We would usually perform our ‘pre-Foley’ sound effects in acoustic spaces like rooms, halls, or wherever would make them sound most natural and useful in perpetuity across different projects. I wish a library like this was available when we started!” Odyssey Foley Effects is the latest individually available library curated from The Odyssey Collection: Complete – which features the complete private library of Mangini and Anderson built throughout their careers in sound for film. ODYSSEY FOLEY KEY FEATURES: 4,592 Broadcast .wav Files: 18GB delivered via download 100% Royalty-Free license for use in any project Flexible Access: Download, online, or on your server Total Length: 30 hours, 45 minutes, 42 seconds Average Recording Length: 24 seconds Rich Metadata: Optimized for fast, pinpoint search View Full Sound List: PDF | XLSX PRICING AND AVAILABILITY: 1-User Perpetual License: $395 Multi-User License: Starting at $670 Learn more and get a quote at prosoundeffects.com/odyssey-foley
  8. PRESSRELEASE SEATTLE, WA (12th August, 2019) – Tracktion Corporation is delighted to announce the latest addition to their ‘Tracktion Present’ program, Mark Watt’s (Delta-V Audio) SpaceCraft Granular Synth. The SpaceCraft granular synth has been a huge success on iOS since its launch a year ago. Now, in collaboration with Tracktion, the latest version is available as a plugin in for Mac and Windows with new desktop-only capabilities. The ‘Tracktion Presents’ initiative has been designed to assist talented independent developers to introduce their products to a wider market. Tracktion is able to take care of much of the background infrastructure and offer invaluable support from their engineering team, giving designers plenty of time to develop innovative and creative products. SpaceCraft is well known for providing instant gratification and inspiring creative flow. Two parallel granular engines provide grain frequency/length control, sample position LFO, stereo reverb/filter and pitch/ring-modulation. The innovative grain pitch sequencer, MIDI / MPE and live sampling capability open up further depths of performance and expression. The focused GUI encourages a creative, interactive experience. With carefully chosen components presented in a single page layout, the user can quickly dive into sound design and exploration without the need for time-consuming configuration of parameters and mappings, it’s all there in front of you. The desktop version of SpaceCraft offers new (desktop-only) capabilities including: - Drag & Drop sample directly into GUI Enhanced, higher fidelity granular engine DSP Up to x8 the number of grains (CPU dependent) Up to 16 minutes sample duration (RAM dependent) Mark has continued to develop the iOS version constantly since its launch last year with significant free updates, and the desktop plugin will be no different. Already, a public beta version of the desktop plugin is available with additional LFO types and a stereo enhancement feature, with more features to come. Users appreciate SpaceCraft’s ‘opinionated design’ approach which allows them to explore intuitively without the need for complex configurations often associated with granular instruments. Careful, it’s addictive! To find out please go to tracktion.com
  9. PRESS RELEASE Campbell, California, August 6, 2019: Townsend Labs is proud to announce that no less than ten new microphone models have been added to the Sphere plug-in—the software component in the award-winning and best-in-class Sphere L22 microphone modeling system. With the 1.4 update, which is free of charge, the collection now includes over 30 individual models. Version 1.4 of the Sphere plug-in is available in all major native plug-in formats, as well as Universal Audio’s UAD-2/Apollo and Avid’s AAX DSP platforms. It’s not only the unrivaled accuracy and rich feature set that sets Townsend Labs Sphere L22 apart from other microphone modeling systems. It’s also the number of microphone models that are available to Sphere L22 owners. Today, Townsend Labs launches version 1.4 of the Sphere plug-in, which widens that gap even further. Ten new microphone models are available at no extra cost, which means Sphere L22 owners now have access to more than 30 stunning microphone models. Ten New Microphones LD-563, based on a classic German bottle microphone with interchangeable microphone capsule heads. The different polar patterns in the Sphere plug-in are based on three different capsules, M7, M8, and M55k. For many, the 563 with the M7 cardioid capsule is a favorite for recording vocalists. LD-017T, a commissioned model of a current production SoyuzⓇ 017 TUBE large diaphragm microphone, created in partnership with Soyuz. It’s a modern classic that is 100% hand-built in Tula, Russia. Popular uses include vocals and acoustic instruments. DN-409N and DN-409U, based on two different variants of the classic German 409 dynamic microphone, which is a favorite for rock vocals and guitar amplifiers. The older N-version is slightly more colored whereas the U-version from the 1980s has a nice, smooth top-end. DN-421N, DN-421S, and DN-421B, based on three different variants of the iconic German 421 microphone—a large-diaphragm dynamic, popular for bass and guitar amps, kick drums and toms, horns, and vocals. The N-version is based on a classic beige 421 from the 1960s and has a slightly warmer sound than the 421B, which is based on a current production black 421 and faithfully captures its slightly brighter character. The 421S is the oldest version of the three, with a script logo and a more colored sound. DN-12A and DN-12E, based on Austrian dynamic microphones - a go-to choice for kick drum and bass instruments. The DN-12A is based on the original version from the 1950s and has a more colored sound. The DN-12E is based on a later version with a slightly more "modern" sound. SD-416, based on an industry-standard shotgun microphone, commonly used in the studio for voice-over and ADR duties. It is the go-to mic for that big voice-over sound in Hollywood-produced movie trailers we’re all so familiar with. Statement from Townsend Labs Erik Papp of Townsend Labs comments: “This update adds tremendous value to the Sphere L22 system. The Sphere Core Collection expands over time. We are proud to grow the collection by 50% with this release. It is a way of saying “Thank You” to our existing customers while providing more value to those that may have been waiting. The Sphere mic collection now covers an even wider range of uses. We are particularly happy to be able to add the Soyuz 017 TUBE, which is a modern classic. We modeled the 017 in collaboration with Soyuz, and we are honored that Soyuz chose Townsend Labs to work with us and that they entrusted us to represent their sound.” 5x Grammy award-winning audio engineer, musician and producer Cassidy Turbin (Beck, Childish Gambino, Dwight Yoakam) adds: “The 421 models sound just as I’d expect. And even better with Sphere I was able to dial in a tighter polar-pattern from an actual 421 and greatly reduce drum bleed on an upright piano track. The Soyuz 017 TUBE modeling on the L22 makes for a really versatile microphone. It’s kind of like if a 47 and 67 had a child. Pretty damn unique.” Price, Formats, and Availability The Sphere L22 Microphone Modeling System can be purchased from most pro audio dealers worldwide and is offered for $1499 US dollars excluding tax. The Sphere plug-in is free of charge and is available in the major native plug-in formats—AAX, VST 2, VST 3 and AU. Also included at no additional cost are plug-in versions for Universal Audio’s UAD-2/Apollo and Avid’s AAX DSP platforms. The microphone can be used with any preamp and digital interface that has at least two microphone inputs. Anyone interested in exploring the system is invited to download various sound examples recorded with Sphere L22 microphones and try the free, fully-featured Sphere plug-in on their system. About Sphere Since its debut in 2017, the Townsend Labs Sphere L22 has established itself as the best microphone modeling solution in the industry. Its pioneering multi-dimensional modeling technology and unique dual-channel design take microphone modeling far beyond merely mimicking the static on-axis response of the original microphones. The Sphere L22 captures the spatial in-room behavior of the original microphones, including transient response, harmonics, proximity effect, and three-dimensional polar response. The stunning accuracy is what has convinced users from home recordists to seasoned industry veterans, such as Joe Chiccarelli and Allen Sides, that Sphere is the future of microphones. Link to landing page: https://townsendlabs.com/expanded/
  10. PRESSRELEASE “Great film music often blends sounds from different cultures to create a rich tapestry; ORBIS lets you infuse your music with DNA from around the world — from incredibly useful, original recordings through to beautifully evolving textures.” - Paul Thompson, composer and Spitfire Audio co-founder LONDON, UK: Spitfire Audio is proud to announce availability of ORBIS — offered as a horizon-expanding ‘world synthesizer’ standalone plug-in, presented in the sound-specialising British music technology company’s sophisticated eDNA engine, enabling exceedingly creative access to 2,500 extraordinary sounds born out of organic performances treated and transported to new dimensions, designed for progressively-minded composers as a gargantuan creative compendium comprising distorted loops to evolving textures and visceral one-shots, subsonic low-end to ethereal pads, perfect for producing rich-sounding, panoramic scores from nature documentaries to sci-fi movies — as of July 18… Sometimes a score needs more than an orchestra. ORBIS reimagines the work of David Fanshawe (1942-2010), an English composer, sound explorer, and ethnomusicologist who travelled the globe to gather an archive of approximately 2,000 hours of music, documented for posterity at a time of great change. “The present is almost history; every day is worth recording.” So stated the man himself. However, ORBIS itself is so much more than a collection of organic field recordings; rather it includes 90% treated content, with over 200 presets, plus loops, textures, one-shots, and pads created by Spitfire Audio’s accomplished team of engineers in its own journey of sonic discovery, distilled — alongside clean recordings, rich in history, character, and emotion — in the sound-specialising British music technology company’s sophisticated eDNA engine to provide users with virtually endless parameters and possibilities for enhancing their own scores with the DNA of countless cultures from across the globe. Enduring and enthralling, David Fanshawe’s rarefied recordings have already made themselves heard in scores to major movies such as 1997’s Seven Years In Tibet (John Williams) and 2002’s Gangs Of New York (Howard Shore); now they are ready and able to empower anyone’s scoring sensibilities as an essential resource for producers, composers, or sound designers intent on seeking out new sounds — or even civilisations! After all, sounds are the fabric from which music is weaved. With that thought in mind, maybe it was inevitable that Spitfire Audio would creatively cross paths with the David Fanshawe World Music Archive. As such, ORBIS was effectively conceived back in January 2015, when widow Jane Fanshawe introduced Spitfire Audio co-founder and composer Paul Thomson to the global sonic explorer’s namesake legacy. “Listening to these extraordinarily vivid recordings is like looking through a window into a different time and place,” pronounces the clearly captivated listener. Literally placing them into a different time and space, Spitfire Audio subsequently handpicked thousands of extraordinary sounds from those extraordinarily vivid recordings, really resulting in a so-called ‘world synthesizer’ since ORBIS users are able to delve deeper into some of the most rare and distinctive sounds and loops on the planet, rich in history, character, and emotion encompassing a range of cultures and communities, many of which no longer exist; enhancing every sound still further with ORBIS’ own exploratory eDNA is inevitable. Imagine the eDNA engine as a set of two turntables alongside a highly-sophisticated DJ mixer. It includes two sound bays — A and B, each designed to create differing sonic treatments, with individual and independent modulators and control of TRIM, BEND, GLIDE, CLONE, TUNE, ADSR (envelope), HI-PASS (filter), LO- PASS (filter), and WOBBLE (modulating VOLUME, PITCH, and FILTER). Furthermore, the GATE SEQUENCER allows for independent gating of those two bays and unified control of amount, speed, and LENGTH of sequence. These two signals are then unified with an x-fader; move between the sounds with the mouse or the factory default-assigned modulation wheel. Elsewhere, eDNA’s five-stage FX (effects) path contains 41 custom plug-ins, including preloaded bespoke IRs (Impulse Responses). The BAY A FX and BAY B FX stages affect sound bay A or B, while an AUX FX stage can be sent via the layers or MASTER FX stage. Obviously ORBIS easily enables sonic journeying of its own doing. Discover hundreds of presets treated in various ways, with Spitfire Audio’s acclaimed sampling expertise and technology twisting and turning every sound through 3,000 lines of code! Some sound subtly manipulated while others are heavily processed, unrecognisable from their original source material. Musically-speaking, ORBIS travels far — from playable one-shots and short phrases to tuned and untuned rhythmic loops and recordings up to a minute long. Ultimately, unearthing sounds with subtle movement, complexity, and evolution is an ear-opening experience. Throbbing basses and pulsing loops, ideal for dance music; thunderous drones, subsonic low-end and visceral, tortured drum hits, for adding movement and depth; Blade Runner-style synths, made from antelope horns; and ethereal pads and breathtakingly beautiful evolving textures, for three-dimensional cinematic soundscapes... the very nature of ORBIS’ design takes its users to new levels of sonic exploration and adventure. A lifetime of inspiration as an essential resource awaits anyone creatively climbing aboard. As to the finished product’s potency, Paul Thomson is clearly qualified to comment, enthusiastically ending on a high note: “This is a really rich tapestry of sounds; it’s almost like a new kind of ‘world synth’ which goes from the raw sounds that are incredibly useful all the way through to beautiful, undulating, evolving textures made from these incredible organic recordings.” ORBIS can be purchased and digitally downloaded as an AAX-, AU-, and VST-compatible plug-in that loads directly into a DAW (Digital Audio Workstation) for a time-limited introductory promo price of £229.00 GBP (inc. VAT)/$269.00 USD/€269.00 EUR (inc. VAT) until August 1, 2019 — rising thereafter to an RRP of £299.00 GBP (inc. VAT)/$349.00 USD/€349.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/orbis/ For more in-depth information, including some superb-sounding audio demos, please visit the dedicated ORBIS webpage here: https://www.spitfireaudio.com/shop/a-z/orbis/ Watch Spitfire Audio co-founder Paul Thomson’s ‘traditional’ video walkthrough of ORBIS here: Watch Spitfire Audio co-founder Christian Henson’s helpful Creating Trailer Music With An Expanded Sonic Palette video here: Watch Spitfire Audio’s inspirational introductory ORBIS video here: Spitfire Audio (www.spitfireaudio.com)
  11. Bravo nyhetsroboten!

  12. PRESSRELEASE PO-137 Rick and Morty edition - a vocal synthesizer and sequencer with built-in microphone for 8 different voice character sampling, all voiced by justin roiland. Read more here: https://teenage.engineering/store
  13. PRESSRELEASE Summer NAMM 2019 - July 18th, 2019, Little Ferry, NJ – Eventide Audio is proud to release three new iOS music creation and live performance effects apps from their legendary catalogue of studio hardware and software: Blackhole Reverb, UltraTap Delay, and MicroPitchTM for iPhone® and iPad®. Blackhole Reverb, a reverberation effect for sound design and creating out-of-this-world ambiance on instruments and vocals, is available for just $19.99. UltraTap Delay, a rhythmic audio effect for stylistic glitchy delays on drums, pads, vocals and guitars is now available for just $14.99. MicroPitch, a pitch-shifter capable of deep pitch dives, slap-backs, and unparalleled detuned delays, is available for just $9.99. Eventide’s Blackhole Reverb, UltraTap Delay and MicroPitch are all available now as standalone apps and as AUv3 plugins for use in popular iOS DAWs, ready for download from the App Store®. Video: Blackhole Reverb Blackhole Reverb, a reverb effect as big as the cosmos, is poised to create out-of- this-world ambiance for iPhone and iPad. Derived from the original hardware versions of Eventide’s flagship studio processors and the popular “Space” pedal, the original Blackhole Reverb was created as "an abnormally large reverb, sucking everything into a bottomless chamber.” Later in the Mac/PC plug-in version, the Ribbon and Hotswitch meta-controls enabled musicians to musically manipulate multiple parameters in real time for enhanced playability. Blackhole Reverb’s remarkable otherworldly sound designs have been used on hundreds of recordings and in sci-fi films. For example, in Prometheus it created the large cavernous soundscapes that evoked eerie, unsettling sensations. Skywalker Sound has used it on numerous film productions and it can be heard throughout Blade Runner 2049’s soundtrack enhancing the film’s disturbing atmosphere. Blackhole Reverb for iOS breaks the rules by allowing musicians, producers and sound designers for film and game audio to create virtual spaces on their iPhone and iPad that could never exist in reality. At large sizes, Blackhole Reverb’s soft attack and lingering, harmonic tails allow it to shine on guitars, strings, vocals and pads. At small sizes, those very same qualities can add an angelic sheen to vocals or turn a simple drum track into an otherworldly rhythm section. Features: - Incredibly easy-to-use with over 50 presets; many created by Eventide artists, such as Black Violin, Vernon Reid, John Agnello, Jakob Haq, MIKNNA, and many more. - Ability to create extremely musical effects useful for highlighting key instruments - Supernatural settings for abstract spatial effects and drones - Subtle settings for ambient washes and track highlighting - Unique “Gravity” control reverses the arrow of time by inverting the reverb's decay - Innovative Ribbon and Hotswitch allow for ‘playing’ the effect by changing any combination of parameters seamlessly and simultaneously - Fully flexible mono and stereo options bring new realms of stereo imaging to mono instruments - Use “Mix Lock” to scroll through presets while keeping the wet-dry mix constant - Available as an Audio Units AUv3 plug-in, Inter-App Audio, and as a standalone app for iPhone / iPad UltraTap Delay is an audio effect for rhythmic delays, great for reverbs, huge volume swells and modulation With origins in the studio classic H3000, UltraTap Delay for iPhone and iPad is a versatile, multi-tap delay effect capable of rhythmic delays, glitchy reverbs, wacky comb-filtering and huge pad-like volume swells by employing extraordinary and innovative modulation techniques. Creative controls like "Slurm" for juicy tap slurring, glitched auto-volume chopping and enormous swell features for breakbeats or atmospheric rises make it the perfect tool for creating drum fills, vocal choruses, swelling guitar chords and other evolving effects. UltraTap for iOS can create everything from reversed reverbs to a massed church choir singing a Gregorian chant in a cathedral! With playable Ribbon and Hotswitch meta-controls, it’s a must-have for sound designers, DJs, EDM, Trap, Hip-Hop producers and musicians for creating, enhancing and performing music. Features: - Up to 64 taps to create simple repeats or morph delays into choruses and reverbs - Speed up or slow down the rhythmic spacing between taps using the Spread knob - LFOs and envelopes to chop sound sources into stuttered rhythms - "Slurm", an innovative parameter, to smear taps together or modulate them to create truly unique reverbs and ‘mushy’ stutter effects - Stereo image control of taps to alternate between hard-panned and mono - Over 150 presets designed to inspire, including artist presets by Chris Carter, Colin Newman, Sasha, Jakob Haq and many more - Innovative Ribbon and Hotswitch allow for ‘playing’ the effect by changing any combination of parameters seamlessly and simultaneously - Use “Mix Lock” to scroll through presets while keeping the wet-dry mix constant - Available as an Audio Units AUv3 plug-in, Inter-App Audio, and as a standalone app for iPhone / iPad MicroPitch is a fine-resolution pitch shifter for subtle tone fattening, with delays for interesting slap back effects, chorusing, depth creation and more MicroPitch is one of the effects that put Eventide on the map - with origins in Eventide’s legendary studio hardware - the H3000, H949 and H910 Harmonizer®. MicroPitch for iOS allows musicians to mix in detuned and delayed versions of a signal. It creates depth and dimensions, with expanded controls for deep pitch dives, haunting echoes, and pristine chorusing effects. MicroPitch’s included playable Ribbon and meta- controls make it the perfect companion app for live performance, or as a plug-in with popular iOS DAWs for use in the studio. Features: - Two voices of pitch shifting, one from unison to -50 cents, the other from unison to +50 cents, each with up to 2 seconds of delay - Create classic stereo-spreading effect - Create slap back effects using longer delay times - Depth and Rate provide chorusing effect on each voice - Feedback control to perform pitch dive/rise effects - Incredibly easy-to-use with included presets - Innovative Ribbon and Hotswitch allow for ‘playing’ the effect by changing any combination of parameters seamlessly and simultaneously - Use “Mix Lock” to scroll through presets while keeping the wet-dry mix constant - Available as an Audio Units AUv3 plug-in, Inter-App Audio, and as a standalone app for iPhone / iPad Video: Blackhole Reverb, MicroPitch & UltraTap Delay for iPhone & iPad Price and Availability: Eventide Audio’s Blackhole Reverb, UltraTap Delay and MicroPitch for iPhone/iPad are available for download from the App StoreTM. Blackhole Reverb is available for direct download at just $19.99, please visit: https://etide.io/BlackholeiOS UltraTap Delay is available for direct download at just $14.99, please visit: https://etide.io/UltraTapiOS MicroPitch is available for direct download at just $9.99, please visit: https://etide.io/MicroPitchiOS Videos: Video link to all Eventide Music Creation Apps / AUv3 plugins for iPhone and iPad: https://etide.io/iOSPlaylist
  14. PRESSRELEASE Boston, MA - Source Audio, creators of the extremely popular Nemesis Delay and Ventris Dual Reverb, are releasing the C4 Synth, a four-voiced synthesizer pedal for guitar and bass. The C4 Synth unites all the sound creation tools of a classic Eurorack modular synthesizer and packages them in a compact and easy-to-use effects pedal. Out of the box, the C4 features six dynamic synth effects, with unprecedented tracking abilities, and lightning-fast response. For those looking beyond the six onboard effects, the Neuro Desktop Editor (a free download for Mac and Windows) and Neuro Mobile App (free for iPhone and Android) offer a diverse library of presets created by the the Source Audio team as well as the ever-growing C4 Neuro community. "Synth pedals need lots of different sounds, because personal taste is everything in this space," says Source Audio President Roger Smith. "Most synth pedals have a relatively narrow range of sounds - that is not enough. The C4 has over 120 presets today, and we estimate it will grow to 1000 a month from now. Our innovation with this pedal is not just flexible sound creation tools - more importantly, it is the simple means by which any user can browse and play the library of sounds, burn a handful of favorites directly to the pedal, and then bring them to their next gig in a small, simple to use package. No other synth pedal in history offers this." The Official Source Audio C4 Synth Demo Video Burning presets to the C4 Synth is a straight-forward process. The C4 connects to the Neuro Editor via the pedal's mini USB port or the Neuro Mobile App via the phone's headphone jack and Input 2 on the pedal. Once connected, musicians can easily browse presets on the pedal for testing. Favorite presets can then be saved with a single click to one of C4's six toggle switch positions or 128 MIDI accessible positions. It's a fun process that allows users to create the perfect synth pedal for their needs. On the surface, the C4 features a simple 4-knob control panel (two of the knobs are dual-function) that includes Input Level, Envelope Sensitivity, Wet/Dry Mix, Master Output Level, and two knobs labeled "Control 1" and "Control 2" that adjust different parameters depending on the preset. The C4 comes pre-loaded with six dynamic synth presets that range from vintage analog to the thoroughly modern. The pedal also includes powerful 56-bit signal processing, a compact anodized aluminum housing, stereo inputs and outputs, and a mini USB port that receives MIDI messages from DAW (digital audio workstation) software as well as external MIDI controllers with USB host support. The C4 can also receive MIDI CC messages when connected to the Neuro Hub (also sold by Source Audio). Nathan Navarro Demos the C4 Synth on Bass For those who wish to explore the deep editing abilities of the C4, the Neuro Desktop Editor and Neuro Mobile App offer a comprehensive set of modular synth inspired sound sculpting tools. The Sound Editor includes four assignable voices, three oscillator wave shapes (sine, square, saw), ten-plus envelope followers, twenty-plus modulating filters, distortion, tremolo, pitch shifting, intelligent harmonization, FM synthesis, two programmable sequencers and more. After dialing in a sound users can either burn the preset directly to any of the pedal's 6 toggle switch positions (and 128 MIDI accessible positions) or publish the preset for other C4 owners to try. While still developing the C4, Source Audio tried something unique by releasing fifty limited-edition, hand-painted C4 Synths to the public. With nearly no promotion the fifty units sold out in minutes. "We wanted to get the C4 in the hands of some highly motivated users," said Smith. "We knew this especially engaged group would give us some excellent feedback and create a swath of awesome presets for the official release." The result is a large and growing collection of thoroughly compelling user presets. Reaction to the C4 from this core group of limited-edition owners was outstanding. Simon Francis (bassist for Ellie Goulding & Kylie Minogue) said, "The C4 brings a depth of sound and a responsive feel/tracking that I have not encountered before. Its compact form factor coupled with an editor that deftly balances simplicity with deep sound design possibilities makes this a game changer." Jason Richards (session guitarist and Ableton programmer) said, "The C4 is everything I didn't know I needed in a synth pedal. Finding the perfect synth engine has a been a long search for me, and the intuitive hardware layout with software integration makes this pedal far beyond anything else in that family of gear." The street price of the C4 Synth is $239. For more info and a list of authorized dealers, visit www.sourceaudio.net or call Source Audio directly at 781.932.8080 (ext. 206). Read more here: https://www.sourceaudio.net/c4_synth.html
  15. PRESSRELEASE July 8, 2019 (Port Jefferson Station, NY) – Supro has recreated one of the most iconic guitars from its long, storied history: the Ozark. Most famous as Jimi Hendrix’s first electric (purchased in about 1959 at Myers Music Shop in Seattle by Jimi’s father Al), the late-50’s Ozark was also renowned as a slide guitar. Historically accurate body dimensions and 25” scale length—as well as the signature pinstripe line art from the original instrument—have all been meticulously recreated in this limited-edition Ozark for 2019. Given the opportunity to re-imagine the Ozark, Supro has taken a number of steps to improve the playability and intonation of the original design while still capturing the sound of this classic American guitar. In the new version, a string-through-body hardtail bridge is mounted directly to the steel control plate, allowing individual intonation of each string while delivering the robust sustain of the original instrument. The new model features a black satin-finished maple neck that is glued into a mahogany body at the 14th fret, preserving the geometry of this iconic guitar while vastly improving its playability and tuning stability. A custom-made Aluma 90 pickup developed for Supro by Lace Music captures the tonal splendor of the original Valco lap steel pickup, while eliminating the physical limitations of the vintage string-through design. The new Ozark delivers unmistakable Supro tone in an instrument that can be set up and intonated like a modern guitar, yet still sounds and feels like a vintage classic. In order to capture the sonic glory of this WWII-era pickup design, Supro worked with Lace Music to recreate the sought-after tone of the vintage Supro lap steel pickup found on the 1958 Ozark that inspired the new model for 2019. Heard on recordings by Aerosmith, Jackson Browne and Ry Cooder, the ancient, humbucking pickup that was used by Supro for the Ozark guitar of the late 50s was borrowed directly from lap steels going all the way back to the 1940s. This unique pickup was mounted on a large, steel baseplate along with the volume and tone controls and bridge, all integrated into a single assembly. In the 1958 catalog, Supro referred to the pickup on the Ozark as a “powerful Western-Unit” with “extra response that Western Stylists require.” Put more simply, this axe was designed from the start to be a monster slide guitar. The magic of the original Supro lap steel pickup has been harnessed by such artists as David Lindley, Jason Isbell and Blake Mills. 1261AW Ozark Specifications •Mahogany body •Set neck with black satin finish •Lace Alumitone pickup •Pau Ferro fretboard •24.75″ scale length •Dot inlays Each Supro Ozark guitar for 2019 is hand-numbered and comes with a signed COA plus a Supro Deluxe Gig Bag. The 2019 Supro Ozark is now available from Supro dealers worldwide for $899 USD. Official product page: www.suprousa.com/ozark
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