Audio Computer Music

iZotope Launches Suite of iOS SDKs for Audio Effects

2011-12-20T23:53:00.002+01:00

http://www.izotope.com/tech/iZomobile/

iZotope Launches Suite of iOS SDKs for Audio Effects

iZotope Inc. in Cambridge, Mass., announces the release of six iOS software developer kits (SDKs) and a free guide to audio programming for iOS. iZotope has already licensed audio DSP technology to clients such as Smule for I Am T-Pain, Audiofile Engineering for FiRe and FiRe 2, and Sonoma Wire Works for GuitarTone.

"By releasing licensable SDKs and a free guide for iOS Audio development, iZotope is providing iOS developers with high-quality, easy-to-use audio effects and resources for their apps," says Alex Westner, iZotope's Director of Business Development. "With hundreds of thousands of applications being released into the market every month, the world of mobile development has become an extremely competitive environment. Superior audio quality is essential for distinguishing top apps from the masses."

The company states that it is excited to bring tools to the market for the beginner and experienced developers alike.

Multiple SDKs provide access to professional audio effects spanning six kits:

Audio Repair: De-noising and audio clean up

DJ FX: Time and pitch control for single voiced instruments

Vocal FX: Pitch correction and vocal remover

Trash FX: 9 different box models and 11 distortion types

Fun FX: Fun vocal FX including tape stop and loud speaker

Core FX: EQ, dynamics, delay, reverb

Effects within the SDKs can apply to apps of all varieties, including apps for field recording, DJ remixing, karaoke singing, lecture recording, gaming, chatting and more. iZotope states that the SDKs are simple to use and come with detailed instructions on how to integrate them into your project.

In addition to the SDKs, developers get a free guide to audio programming for iOS, which provides a concise collection of information on using Core Audio in iOS, including how to use both Audio Queues and Audio Units, the two main methods in Core Audio for handling audio.

For pricing information on iZotope's iOS SDKs, contact iZotope Technical Sales Representative Scott Simon atscott.simon@izotope.com.

To learn more about iZotope's iOS SDKs or to download the iOS Audio Programming Guide, visit www.izotope.com/iOS. The iOS Audio Programming Guide can also be found via iBooks on an iPhone or iPad.

Xhun Audio updates LittleOne to v2.4

2011-12-20T23:47:00.002+01:00

http://www.xhun-audio.com/site/xhun.php?page=welcome

Prism Sound launches SADiE 6 dongles

2011-12-19T13:12:00.001+01:00

Prism Sound launches SADiE 6 dongles

Cambridge, UK: Prism Sound is delighted to announce the release of the latest version of its SADiE 6 software. In addition to various enhancements, SADiE users can now use their SADiE 6 editing software on any computer, anywhere in the world, thanks to the dongle-based security that gives users the ultimate in flexibility. SADiE 6.0.2 supports dongle operations, and the dongles themselves are now shipping.

"The new release software adds a number of advantages, particularly to editors with new functions in the trim editor that speed up workflow by allowing adjacent clips selection and pairing of clips," says Prism Sound and SADiE's Broadcast Consultant Pete Nash. "Stability with certain Windows issues have now been resolved and the dongle support is particularly useful to customers who are using SADiE 6 for location recording, or in organisations where the software is more likely to move from computer to computer."

Dongles are now shipping and customers who would like one should contact SADìE to find out more.

The launch of SADiE 6 software marks another step in the evolution of the high-quality audio recording and production system in the computer environment, allowing a choice between proprietary audio I/O and DSP processing, or standard soundcard I/O and DSP functions running on the host computer.

2011 has been a busy year for SADiE, and many interesting developments including the rolling out of the SADiE 6 to the BBC in Manchester. The company has also launched an accreditation scheme for training establishments to ensure that future broadcast engineers receive the very best training in this ground breaking craft editing technology.

Delora gbTouch 3.1 and gbRemote 1.1 apps Available Now

2011-12-19T11:51:00.001+01:00

Harmony Systems, Inc. announced the worldwide availability of gbTouch 3.1 and gbRemote 1.1, upgrades to their popular Delora line of iPad and iPhone music controller applications. gbTouch, for the iPad, and gbRemote, for the iPhone/iPod touch, offer control surface and remote control capability for the Apple GarageBand music application on the Mac. New Features & Benefits The Delora gbTouch app gives users the ability to select a theme style for the "look" of their app, simply by selecting a gbTouch preference in the iOS Settings application. gbTouch 3.1 adds a fourth style that incorporates user requests for vertical faders. The new "Mixer" theme style offers GarageBand users the feel of a mixing board on their iPad. New style rotaries on the Track Edit screens complement this theme. gbRemote 1.1 now comes standard with its own two theme styles, including a black "Minimal" theme to supplement the current gray "Texture" style. Both products also add the ability to dismiss GarageBand popup messages from the iPad or iPhone. gbLink 3.1 is the Link gbTouch 3.1 and gbRemote 1.1 require the installation of gbLink 3.1.0, a small OSX application, on a Mac. Significant performance enhancements have been made in this latest gbLink version. gbLink is free and available for download at the Delora website, www.delora.com. Pricing & Availability gbTouch 3.1 is available for $9.99 USD on the App Store, with gbRemote at $2.99. Both are free upgrades for existing customers.http://www.gearjunkies.com/news_info.php?news_id=7029

Alex Picciafuochi Rainbox

2011-12-19T09:20:00.000+01:00

Alex Picciafuochi Rainbox

Arturia Oberheim SEM V Now Shipping

2011-12-18T14:21:00.000+01:00

Arturia announces the shipping of their highly anticipated new synthesizer: the Oberheim SEM V. The Oberheim SEM V faithfully reproduces the warm sound and elegant interface of the Synthesizer Expander Module®, one of the most iconic synths of the analogue era. Accurately recreating the tone, waveshapes, multimode 12dB/octave filter and other detailed characteristics of its grand ancestor, the Oberheim SEM V also brings the benefits of polyphony, MIDI control, arpeggiation and of a new modulation matrix that considerably widen the sonic palette. The Oberheim SEM V not only excels at ultra-fat basses and textured leads, but it is also delivers the amazing sequences and ethereal pads present on the 8 Voice model, thanks to the intuitive 8 Voice Programmer and Keyboard Follow modules. Favored by major artists for the beautiful harmonic spectrum of its multimode filter, the Oberheim trademark sound is back as an absolute must have for your studio. MAIN FEATURES: All the original features of the Oberheim SEM: two oscillators, each offering sawtooth wave and variable-width pulse wave with PWM, sine wave LFO, 12dB/oct multi-mode Filter with low-pass, high-pass, band-pass and notch, two ADS envelope generators. Added functionalities: Sub oscillator, 2nd LFO, white noise, on board effects (overdrive, chorus and delay), Arpeggiator, Portamento. Polyphony and 8 voice multitimbrality New 8-Voice Programmer module Advanced Keyboard follow module Modulation Matrix module Works in Standalone, VST 2.4 & 3, 64 bit & 32 bit, RTAS and AU 32 & 64 bit formats Compatible with Windows (XP/Vista/Seven 32 bit and 64 bit), Mac OS X (Mac OS X 10.5 or higher, Intel only)

Sonnox Oxford Plugins also as 64 bit versions available

2011-12-15T11:09:00.001+01:00

Sonnox Native 64-bit Support : Frequently Asked Questions
9th December 2011

Native 64-bit Audio Units and VST support is now available for the following Oxford plug-ins :

R3 EQ
Dynamics
Inflator
TransMod
Reverb
Limiter
SuprEsser

New plug-in purchases will automatically provide the latest updated Native licences and installers.

Free upgrades are available for Sonnox plug-ins purchased within the last 90 days.

Optional Native upgrades are available for all other registered Sonnox plug-ins, including Pro Tools TDM and PowerCore versions. Upgrade fees vary according to the type and version of existing licence.
Click here for details.

The new Native licences also support the new Pro Tools AAX-Native format. The plug-in software will be released in 2012 - starting with Oxford R3 EQ and Inflator in January.

Are all Sonnox plug-ins fully 64-bit compliant?

The Sonnox Elite plug-ins (EQ, Dynamics, Inflator, TransMod, Reverb, Limiter and SuprEsser) for Native Audio Units and VST are now fully 64-bit compliant.

All Sonnox Pro Tools plug-ins - RTAS, TDM, AAX-Native and AAX-DSP - are 32-bit plug-ins.

Sonnox Restore plug-ins may be used in compatible 64-bit DAW's using supported plug-in bridges.

The Sonnox Fraunhofer Pro-Codec is currently not 64-bit compatible. It may be used with Windows 7 (64-bit), but only where the compatible host DAW application is run in 32-bit mode. Mac DAW's, eg. Logic Pro 9, running in 64-bit mode are not currently supported.

I'm an existing Sonnox user. How do I upgrade to the 64-bit versions?

You'll need to know your plug-in serial number and your iLok.com User ID. You'll find this information in the Sonnox registration email that we sent when you purchased, or last upgraded your licence.

If you can't find your registration email, try here :

www.sonnox.com/myinfo

Then visit the Sonnox website at :

www.sonnox.com/upgrade

and select the top 'Upgrade' option.

Follow the on-screen instructions and make your upgrade payment using the WorldPay Secure Payment facility.

We'll send your new licence to your iLok account and provide links to download the new 64-bit plug-in software installers. We'll also send you a new plug-in registration email.

To install your new Sonnox plug-in :

Log on to your www.ilok.com account and download the new licence onto your 2nd generation iLok.

You will need to surrender your old licence when you download the new one, so please have all the relevant iLoks connected and synchronised.

Before you log out from your iLok account, please download and install the latest iLok drivers for your computer

Run the Sonnox plug-in installer.
Back to Top

How much will the upgrade cost?

Upgrade fees vary according to the Version and Type of your existing licence.

If you have purchased your Sonnox licences within the last 90 days, the upgrade will be free of charge.

First, find which version of Sonnox plug-in you currently own. You will find this information in your Sonnox registration email that we sent when you purchased, or last upgraded your licence.

If you can't find your registration email, try here :

www.sonnox.com/myinfo

After each plug-in serial number, you'll see the Sonnox product code. This is split into 3 sections :

The Version :

PTH = Pro Tools HD
PTL = Pro Tools LE
PC = PowerCore
NAT = Native

followed by the Plug-in Name, for example:

REQ = Oxford R3 EQ
DYN = Oxford Dynamics
TMD = TransMod

and finally the Licence Type, for example :

G4
G3
G2

Eg. PTHREQG2 Oxford R3 EQ for Pro Tools TDM or NATDYNG4 Oxford Dynamics for Native systems.

Some Oxford Plug-ins were originally supplied in special discounted bundles containing several plug-ins. These will have one serial number, and the licences are eligible for upgrade together at the same time. To calculate the total upgrade fee, multiply the single upgrade fee, below, by the number of plug-ins in the bundle.

Upgrade fees for a single Product Code :

NAT...G4 = £15.00

PTH...G4 = £15.00

PTL...G4 = £15.00

PC...G4 = £15.00

PTL...G3 = £25.00

PTH...G3 = £30.00

PC...G3 = £30.00

PTL...G2 = £35.00

PTH...G2 = £40.00

PC...G2 = £60.00

Do I need to use a 2nd generation iLok to use the new 64-bit plug-ins?

Yes, the latest licences need to reside on a 2nd generation iLok key to authorise the 64-bit plug-ins. Users of the original blue iLok device will still be able to run the 32-bit software.

I have an original, blue iLok key. Which versions of Sonnox plug-in can I use?

All new Sonnox plug-ins, upgrades and demos will include installers for 32-bit plug-in software compatible for use with the original blue iLoks. Pro Tools users may use either original blue iLoks or the new 2nd generation iLoks. The only software that you won't be able to use will be the new 64-bit Audio Units and VST software and also AAX-Native* and AAX-DSP* (*available in early 2012).

I own a Sonnox plug-in licence from a Massive Pack bundle. How do I upgrade my licence to use the new 64-bit Native plug-in?

Massive Pack bundles containing Oxford R3 EQ plug-ins can follow the general upgrade advice given above. These plug-ins will either have Sonnox Product codes PTHREQG2 or PTHREQG3. It is also possible that you have previously upgraded the plug-in to the MacUB version, the code for which is PTHREQG4.

Massive Pack 6 contains the Oxford Dynamics. The upgrade fee for Product Code PTHDYNMP6 is £100.00

Massive Pack 8 contains the Oxford Inflator. The upgrade fee for Product Code PTHINFMP8 is £80.00

Please remember that only the Native Audio Units and VST plug-ins are 64-bit. The Pro Tools TDM and RTAS plug-ins will remain 32-bit. The upgraded bundles will support Pro Tools AAX-Native.

I own a PowerCore X8 Sonnox Edition Oxford EQ and Dynamics bundle. How do I upgrade my licences to use the new 64-bit Native plug-ins and how much will it cost?

The Sonnox Edition plug-ins do not provide Native support. However, they may be upgraded together to provide the following support :

Native 64-bit Audio Units and VST
Pro Tools RTAS and AAX-Native (32-bit)
Final release version of PowerCore plug-in software (32-bit)*
The upgrade fee for both plug-ins is GBP 140.00

* PowerCore plug-in software will not support 64-bit DAW's without use of a supported plug-in bridge.

I use an Intel Mac and a PC with Windows 7 - Can I install the new plug-ins on both?

Yes, you can install the Windows software and Mac software on your computers. Then you simply move your iLok key between your systems as required.

I use a PowerPC Mac. Can I use the new plug-in software?

Unfortunately, it's not possible to use the latest versions of Oxford plug-in software with PowerPC Mac computers. However, we will continue to provide legacy Mac Universal Binary plug-in software which is compatible for use with the latest plug-in licence type.

Do the new 64-bit plug-ins looks different than before?

Yes. Many of the Oxford plug-ins have been in daily use around the world for many years. In response to requests from our users, we've updated the look of the plug-in interfaces, and incorporated a new Sonnox Toolbar - This provides preset management, undo/redo and A/B features.

Do the new 64-bit plug-ins sound better?

The audio quality of Sonnox 64-bit Native plug-ins is identical to the previous 32-bit versions.

Steinberg WaveLab 7.2 Update Released

2011-12-09T07:40:00.000+01:00

Steinberg is pleased to announce the availability of WaveLab 7.2, the latest update to the industry-standard solution for mastering, audio editing and restoration.

The 7.2 update provides seamlessly integrated remote control support for Steinberg’s advanced CI, CMC and CC121 models and also supports up to three MIDI-compatible hardware devices. Other highlights include 64-bit versions for Mac and Windows platforms, an Upload-to-SoundCloud function and an updated version of the Dirac 3.5 time-stretching and pitch-shifting algorithm. Plus, WaveLab 7.2 introduces an advanced marker handling system and several workflow and user interface improvements.

The update is now available free of charge from the Steinberg website.

CONNECT TO THE CORE OF WAVELAB

WaveLab 7.2 is the latest free update to Steinberg’s award-winning solution for mastering, audio editing and restoration. The new version includes 64-bit versions for Mac and Windows platforms and adds full remote control support for Steinberg’s CI, CMC or CC121 control devices or any other MIDI-compatible hardware. Other highlights include an Export-to-SoundCloud function, an updated version of the Dirac algorithm and several workflow and user interface improvements.

REMOTE CONTROL SUPPORT
WaveLab 7.2 comes with a comprehensive remote control support, perfectly integrated with your CI, CMC series and CC121 controller hardware. Adjust plug-in parameters, volume levels or the stereo pan — faster and more convenient than before. Best of all, WaveLab 7.2 also supports the AI knob technology, allowing you to seamlessly control all program parameters with one central knob directly from your Steinberg hardware.

Of course, WaveLab 7.2 is also ready to be used with up to three other MIDI-based control surfaces supporting the MIDI learn function, which lets you easily assign the controls of your hardware to a specific parameter within the application.*
Extensive remote control support
WAVELAB 64-BIT EXPERIENCE

WaveLab 7.2 and WaveLab Elements 7.2 are now available as 64-bit versions for Mac OS X Lion and Windows 7 platforms. Edit hundreds of tracks simultaneously, handle extensive batch processes or analyze and restore audio material with utmost precision — with the advent of 64-bit support, your WaveLab experience will be faster than ever. And all the included VST 3 plug-ins, such as the advanced Sonnox restoration suite, are already available as 64-bit versions.

SOUNDCLOUD SUPPORT

Share your recordings with people around the world — SoundCloud is the perfect place to let others hear what you have recorded, mixed and mastered. With WaveLab 7.2, uploading a track to your SoundCloud account can be done within just a few clicks. Simply choose “Upload to SoundCloud” in WaveLab’s File menu or the option in the WaveLab 7 render dialog and you are done.

TIME-STRETCHING AND PITCH-SHIFTING FOR PROFESSIONALS

The latest version of the award-winning Dirac time-stretching algorithm now includes several improvements and provides an even better quality. Dirac 3.5 works wonders on polyphonic audio material and stands in a class of its own.

YOUR SESSION, YOUR LAYOUT
New startup dialog
WaveLab 7.2 comes with a new start up dialog where you can easily choose a window layout that is opened when WaveLab starts. You can define your own, personalized layouts or pick one of the factory presets — it takes just a few moments to set up your session.**

Enhanced DDP file handling
SPEED UP YOUR PRODUCTION PROCESS
WaveLab 7.2 features an enhanced DDP file workflow. Once you have created a new DDP file, WaveLab 7.2 automatically offers a button that let’s you import the DDP file directly into the Audio Montage area for further adjustments.

After importing DDP files, WaveLab 7.2 now labels clips and markers with more appropriate names, allowing you to easily identify the imported files. Last but not least, WaveLab 7.2 brings enhanced file quality by offering an option to verify the DDP file checksum.**

ENHANCED MARKER HANDLING
Marker window
Creating and editing markers has always been an important part of the WaveLab workflow. In WaveLab 7.2 this workflow has been streamlined as this new version introduces a floating marker window, allowing you to easily create, name — simply manage — all markers and regions in your project.

WORKFLOW IMPROVEMENTS

Now you can change fader values using the computer mouse wheel. Plus, pressing Shift allows for fine adjustments, whereas pressing Alt allows for coarse adjustments.

SAVE COPY OPTION

Handling several projects and revisions of opened sessions can often be confusing. WaveLab’s Save As function now includes a Save Copy option. No matter if you want to save an audio file or the entire Audio Montage — when this option is activated, a copy of the opened document is saved and the document continues to refer to the source file.

CD-RELATED ENHANCEMENTS

The CD Wizard now includes options to name and rename markers and the CD Report dialog contains a text-based report generator. Plus, the total CD time is now being displayed within the CD tool-window.*

WINDOWS SCRIPTING

In addition to the internal WaveLab scripting possibilities, Windows scripting allows you to control WaveLab from an external application (not to be mixed up with internal WaveLab scripting).**

*Limited feature in WaveLab Elements 7.2

**WaveLab 7.2 only, not available in WaveLab Elements 7.2

Logic Pro 9 now from the Mac App Store $ 199.99 (€ 149,99)

2011-12-09T07:36:00.000+01:00

As expected, Apple moved its Logic Pro music production tool to the App Store. And the results are mostly what you’d expect. The biggest change is the price: Logic gets slashed to US$199.99, while MainStage gets a so-low-you-might-as-well-try-it $29.99 sticker price.
Wave editor Soundtrack Pro, removed from Final Cut Studio, is gone here, too. Lesser-known mastering tool WaveBurner gets the axe.
Logic Pro 9 is still Logic Pro 9. Today is a minor update that you can now download via the App Store if you choose. Logic Studio remains for sale through Apple in its boxed edition, but at two hundred bucks, the App Store version is the winner.

No Logic Pro X
If you were expecting Logic Pro X, my guess is, it’s just not done yet. I still expect the number ten to follow the number nine. (Amazing how that works.) I don’t expect Logic Pro X to produce the kind of disruption that Final Cut Pro X did, however. Logic already has a 64-bit infrastructure. Final Cut had an aging code base, deeply rooted in deprecated versions of QuickTime, that prompted Apple to do a ground-up rewrite. The initial results made people unusually unhappy, and perhaps justifiably so, but ground-up rewrites of software this complex tend to be ugly at first. There’s no reason to believe Logic will face a similar overhaul. Whatever Apple is doing, I’m in no rush; Logic is a deep program, and I’d rather wait for upgrades from everyone (note to all developers everywhere) than have serious production software rushed out before its time.
What is notable is MainStage: there are some welcome tweaks, and absurdly-cheap, standalone pricing that should get some attention.
MainStage
The real changes software-wise come in MainStage. For starters, if you don’t love Logic but want to try Apple’s live performance / instrument and effect rig, you can now do that. MainStage works standalone, and you even get all the Apple Loop sound content and sample-based instruments previously available in Logic Pro – Jam Packs and all, what once could have cost you hundreds of dollars is now thirty bucks. One thing I wondered about with the App Store was how Apple would handle distribution of all that content. They’ve thoughtfully allowed you to check off only the content you want to install, saving bandwidth and hard disk space if you don’t want everything.
MainStage 2.2 also delivers some new features for your $30. From the release notes, I spot a few highlights:
Now takes “full advantage” of Macs with four or more processor cores
New template picker, Assignments and Mappings view for streamlined screen and hardware control
Bigger interface elements
More MIDI control, SMF support for sending SysEx and other data when you make a patch change, block unwanted controller messages
Support for: Akai MPK25, Akai MPK49, Alesis Q25, Korg nanoKey2, Korg nanoKontrol2, Korg nanoPad2, updated M-Audio Axiom and Oxygen models, Novation Nocturn 25
There are also some bug fixes and improved ReWire support.
None of this is really earth-shaking in itself – though it’s nice to see those patch change additions for people with hardware rigs. But the big news here is that, with MainStage unbundled from Logic, it’s in a whole new product category. It could be a viable option for Mac owners wanting to control plug-ins and hardware from a streamlined setup, even if they’re not Logic fans. And that could open MainStage to new audiences using other DAWs. Years ago, I reviewed a similar app, Rax, now marketed by Audiofile Engineering. (At the time, it was developed by Plasq, now better known for Skitch, which they just sold successfully to Evernote.) I was disappointed that no one really picked up on the app.
The idea is great: make a simple, straightforward app that gets you actually playing instruments on your computer with minimum fuss. It still seems like a great idea, and perhaps now the time is right. Rax/MainStage shootout, anyone?
Bottom Line
Sometimes, it’s news that something isn’t news. For all the rumors that the App Store transition was going to be a big deal, I think for Logic users, it’s probably not. It could be a more convenient way to distribute Apple’s software. And it sure makes those days of giant Logic boxes and blue Emagic copy protection dongles seem distant, huh? But I don’t think the question is whether competitors will go to the App Store, specifically. I think the question will be more generally, when will we cease to see boxes of nothing but software in stores? It seems stores may continue to carry hardware bundles, but that software will get delivered, you know, on the Internet.

Thunderbolt™ solution for Prism Sound Orpheus and ADA-8XR interfaces

2011-11-30T15:12:00.000+01:00

Thunderbolt™ solution for Prism Sound Orpheus and ADA-8XR interfaces

Cambridge, UK: The recent addition of the new Thunderbolt I/O connection to Apple Mac computers means data can be transferred faster than ever - 10Gbps of bidirectional throughput plus a separate display bus.

Lightning fast speed and huge bandwidth has meant Thunderbolt can accommodate nearly any existing connection to a variety of external devices with the necessary adapter, including Prism Sound FireWire audio interfaces Orpheus and ADA-8XR.

After extensive testing on the latest Mac OS X Lion 10.7.2 operating system the Sonnet Thunderbolt Adapter passed with flying colours and will allow Prism Sound FireWire interface users to maintain the same software control and functionality they are currently benefiting from through the FireWire 800 and 400 connection.

Any Apple Mac sporting the new Thunderbolt connection (currently the MacBook Air, MacBook Pro, iMac and Mac Mini) will be able to connect to our Orpheus and FireWire ADA-8XR including the latest MacBook Airs, which was previously lacking any connection above USB 2.0 speed.

MacBook Pro, iMac and Mac Mini users will benefit from an extra bus through the Thunderbolt connection meaning external Hard Drives and other FireWire devices can be used simultaneously with the Prism Sound Orpheus and ADA-8XR FireWire interfaces.

FireWire, Thunderbolt and the development of standalone software means native audio production has never been more popular providing the perfect solution for users requiring the freedom of flexibility between hardware and software combinations, expandability through cascading multiple units and devices via the convenience of a single connection.

Vicoustic ViTune acoustic measurement tool

2011-11-30T06:52:00.000+01:00

More than simply a measurement tool, ViTune is designed to help both audio professionals and hi-fi enthusiasts tune their rooms without requiring specialist training. (Regies, Recording Rooms, Hi Fi, home theaters, home cinemas, etc)

Based on a simple “traffic light” indication system, room measurement is carried out in four easy steps via the software’s intuitive interface.
As well as measuring the room, ViTune also indicates how much acoustic treatment should be used to improve the overall room acoustic. Two choices of product are offered for fixing reverberation time problems and controlling first reflections. It also shows the exact frequency to which Vari Bass should be tuned!

ViTune is programmed to classify early reflections and reverberation time based on the IEC Acoustic Norm. The red light means bad behavior, yellow means some reflection failure, and green means the room is up to IEC standard.

For customers with more experience of acoustic analysis, the software also includes an advanced section showing results for full frequency response, smoothed frequency, impulse response, reverb time and energy time curve.

Ardour3 Beta 1a Released

2011-11-26T16:03:00.000+01:00

Ardour3 Beta 1a Released

After a furious 3 months (more than 500 code commits), the Ardour team has announced the release
of Ardour 3.0 Beta 1. This is the first version of Ardour 3 that has support for OS X (Intel only for now, sorry PPC users), where you will find fully functional AudioUnit instrument support among all the other goodies that Ardour 3 brings. The list below documents the other many changes, including support for Linux native VSTs, an initial new version of Freesound browsing, some shinier new buttons, and a metric ton of bug fixes and improvements.
New Features:
Linux "native" VST support.
Give route groups their own colors.
Allow route groups to color their tracks.
Add option to insert time on all a track's playlists.
Option to glue new markers to bars and beats.
Implement invert selection for MIDI notes.
Add Selection-by-note-range for MIDI notes.
Add session option "MIDI-region-copy-is-fork". If set, all MIDI region copies will be independent from each other; settable via Session->Properties->Misc.
Offer explicit monitoring choices, so that tracks can be forced to monitor their inputs (and more).
Auto-connect new track/bus inputs to physical ports is now the default.
Auto-connect new track/bus outputs to the master bus is now the default.
Experimental, incomplete reimplementation of Freesound browser (part of the import dialog), allowing users to find and use audio from the vast Freesound audio database.
Add option to have track/bus selection linked between the editor and mixer windows.
GUI Changes:
On OS X, switch all use of Control and Alt/Option keys (closer to Apple's standard modifier usage).
New ArdourButton widget, now widely used for buttons that convey state through their visual appearance.
Rearrange the transport bar; items not frequently modified while working (auto-input, time-master) have been moved to Session->Properties or Edit->Preferences.
Use evenly distributed green palette for MIDI notes.
Use standard selection colour (purple) for selected MIDI notes.
Less day-glo panner colours based on audio track colours.
Make meters with different colour parameters actually work.
Fix meter colour gradients (mid and top were swapped).
Fix meter colour range to again have a hard knee at 0dB and twiddle colours so >0dB levels are red and stand out.
Fix style of the clock in the insert time dialogue.
Increase threshold for zoom-by-horizontal movement; ignore movements to y positions outside the scroomer; round page size and value to prevent 'quivering' during drags.
Put session-modified asterix in mixer window title as well as editor.
Redesigned info bar (ideas from Chris Goddard).
Reorganize Preferences dialog a bit.
Add Visibility control for a growing number of repeated GUI elements (particularly in mixer strips).
Restore mixer strip comments button, but optionally visible.
Don't show busses tab in MIDI connection managers, since there are no MIDI busses yet.
Clean up display of channel buttons in monitor section so that it looks optimal for both normal people and ambisonics freaks.
Add options to add ports to input/output menus on mixer strips.
Add an option to disable editor update during drags of the summary pane (helps GUI performance with large sessions).
Add option to set default-session-parent-dir.
Don't offer up Send editors for internal sends (too confusing, because they are not like JACK-level sends).
Add tooltips for plugins/inserts/sends in the mixer strip.
Drastic overhaul of keyboard handling in mixer window.
Fix port matrix dimensions on non-24-bit displays.
Make "OK/Apply" the default response in several dialogs.
Set window icons for the startup window.
Provide global prelight option (its in Edit -> Preferences->Interface).
Alert the user if a connection is made which causes feedback, and preserve the route graph in the state that it was in before the feedback was introduced. The intent being to simplify the code, reduce the number of areas of code which must consider feedback, and fix a few bugs.
Provide global prelight option (see Edit -> Preferences->Interface).
2 level structure for theme manager window, to help with themeing ArdourButtons.
Fix transparency of selection rectangles (and change color a bit).
Add "active" indicator/control to rows in the editor route list.
Fix insertion of processors at the point at which the processor menu was opened; give a visual cue to indicate where a processor will be inserted.
make return/enter trigger the default action in a variety of dialogs.
Crash Fixes:
Fix crash caused by empty bundles.
Fix a crash with plugins when the processing of a block of audio is split up (e.g. for automation handling).
Fix crash on rename region.
Fix crash when moving end marker after deleting loop range.
Fix crash on "Consolidate Range" on MIDI tracks.
Other Bug fixes:
Fix note snapping so that we snap to the note we're over.
Fix various MIDI keybindings that were lost previously in a regression.
Setup fader for audio/MIDI when its position in the processing chain is altered.
Reconfigure processing chain appropriately when setting up a peak meter.
Update fader curves when xfade length changes.
Fix thinko bug with dragging one of the >1 tabs in the same route group.
Stop session range location being removed on clear-ranges.
Do not move the initial tempo / meter changes at 0 time when inserting time.
Snap new automation points in AutomationRegionViews.
Don't create new regions on clicks on MIDI plugin automation tracks.
Set up ControlUI::combo_map correctly to fix drop-down boxes in generated plugin UIs (#4221). Based on work by jeremybub.
Delete RouteUI immediately on request, rather than in an idle loop.
Don't allow non-movable meter / tempo markers to be dragged.
Don't draw MIDI note horizontal grid lines if they would be less than 3 pixels apart.
Load the tempo map before the locations so that locations can compute their BBT positions correctly.
Clear clicks on locating for a seamless loop so that they don't stop.
Fix default disk_io_chunk_frames for diskstream so that it isn't larger than the default playback buffer size.
Make it possible for undo records to contain details for crossfades that are later deleted.
Fix adding of automation points to regions with a non-zero start.
Check inodes before reporting ambiguous files (to avoid seeing symlinks twice).
Fix interaction with JACK latency API.
Handle scroll events on track header meters.
Hide/ignore inputs on a plugin if the previous processing element doesn't provide any data for them.
Make management of MIDI ports thread-safe.
Various fixes to Mackie/Logic Control support.
Fix a search/replace bug in TOC/CUE generation.
Fix problems with selecting control points in AutomationRegionViews with non-zero region start.
fix ghost note position on non-zero-start regions.
Remove erroneous check that would prevent notes being put at pitch 0 or 127.
Clear selected MIDI notes in all regions when they are cleared in a single one.
Stop MIDIRegionView claiming PrimaryModifier-scrollwheel so that zoom still works when MIDI notes are selected.
Make phone-home option default to False even for non-debug builds.
Fix visibility of MIDI CC automation lanes.
New Emu Xboard 61 binding map from mcgruff.
Patch from colinf to disallow colons in snapshot names for compatibility with FAT filesystems.
Adjust send faders depending on what signal type they are passing.
Make MIDI sends work.
Improve plugin hide logic to prevent crashes when trying to insert fully audio plugins into MIDI tracks.
Save marker selection state in instant.xml.
Fix crossfade construction.
More robust plugin I/O mapping.
Cope with drags of selections that include regions on hidden tracks.
Fix check on dragging MIDI notes to a point before the region position.
Fix snap of note drags when the region position is not itself snapped to the grid.
Allow status bar components to be individually shown / hidden.
Don't offer the monitor buss to export from.
Don't resort routes at every step during a session's construction; can dramatically speed up loading of big sessions.
Use shared_ptr for Port in the AudioEngine; improves thread-safety of the audio engine's port list as a writer cannot destroy a port in one thread while the port list is being iterated in another.
Reload meters in the right place even if they are set to a custom position.
Fix left-over Panner and related objects after session close.
Change internal API used by native VST support to read/write info files, so that users can generate.fsi files in ~/.fst if is not writeable by them.
Fix compensation of roll delay with MIDI tracks; data should be obtained from playback_sample, not transport_frame.
Reverse the order of vertical tabs when they are on the right hand side so that from top to bottom it is the same order as that from left to right for the top tabs.
Fix bleed of signals between tracks/busses caused by disabled plugins.
Allocate some thread-local buffers for the GUI thread so that the Plugin analysis stuff works again.
Make it impossible to create MIDI tape tracks.
Do a topological sort of the route list before passing it to the graph, as the graph's feedback detection algorithm depends on the input route list being sorted in such a way.
Fix naming / numbering of new MIDI tracks.
Attempt to fix some confusions caused by bundles containing different types of ports.
Fix master bus mute button.
Use home-grown solution for path_expand(), rather than wordexp() which is broken in different ways on different platforms.
Fix nasty off by one error that lead to the creation of 1 sample xfades where there should be none.
Fix incorrect buffer status reports when using MIDI tracks.
Find export presets correctly.
Open route group dialogue on Ctrl-right-click rather than Ctrl-left-click on a group tab to be more consistent with the rest of Ardour.
Save custom meter position so that it can be restored if the metering point is set to something else and then back to custom again.
Build Changes:
Don't build tranzport support unless it was asked for (it doesn't work anyway).
Remove LV2 support via SLV2 (Lilv only now).
Comment out soundtouch-related configuration checks.
Translations:
Updated Italian translation from Raffaele Morelli.
Updated Russian translation from Alexandre Prokoudine.
New Norwegian translation from Eivind Ødegård.

SmithsonMartin Emulator Kontrol Surface Introduced

2011-11-26T16:00:00.000+01:00

Saturday, 26 November, 2011

SmithsonMartin Emulator Kontrol Surface Introduced

The Kontrol Surface 1974 (KS-1974) is an innovative multi-touch MIDI control surface from the developers of the Emulator DJ Software, Smithson-Martin. Connect the KS-1974 to your laptop, desktop or any computer to transform them into a powerful and comfortable 22 inch surface with 4 simultaneous touch points. This is perfect for your studio or live performances. KS-1974 is a state-of-the-art DJ, VJ, and Studio Production tool. KS-1974 is the perfect size for any DJ booth or studio desk.

KS-1974 is the newest product from SmithsonMartin, winners of the 2011 DJ Mag Tech Awards: “Most Innovative Product”. Emulator for Traktor and Emulator Modular come bundled with the KS-1974.

Emulator Modular includes a complete set of objects so you can completely custom design your own multi-touch interface with buttons, sliders, circular knobs, jog wheels and even your own custom graphics.

With Emulator Modular you can build your customized multi-touch interface in just minutes. Imagine a custom layout for Traktor, Ableton, Virtual DJ, Mixvibes, Torq, Deckadance, Arkaos, Resolume, and any other MIDI based software. You can share your creations with Emulator community, benefit from the experience and collaboration of other users from our forum. Sharing templates is easy and free, with Emulator Modular, the game has officially changed.

KS-1974 is manufactured with a highly accurate and extremely responsive 4 touch sensor, running at ultra low latency (less 4ms) and completely compatible with Windows 7 & 8 and OSX.

KS-1974 is an ultra durable MIDI controller, glass used in the sensors is chemically strengthened to withstand high-volume user interaction and repetitive motion. The system allows continuous usage and will never wear out the faders and of course no more missing buttons.

Pre-Ordering is available, delivery will start in january 2012.

Waves Black Friday

2011-11-25T12:37:00.002+01:00

Waves site

- Posted using BlogPress from my iPad

Sonnox Black Friday 25 Nov 50% Off on selected bundles

2011-11-24T23:36:00.001+01:00

Native Instruments Thanksgiving Special November 24-28 50% OFF

2011-11-24T23:33:00.000+01:00

Native Instruments Thanksgiving Special November 24-28 50% OFF

Get 50% off over 50 KOMPLETE Instruments and Effects, including KONTAKT 5, REAKTOR 5, RAZOR, and SESSION STRINGS PRO.

Get more out of TRAKTOR for less. Add scratch capability, or step up to the latest TRAKTOR PRO generation for half price!

Build your beats anywhere you want with this intuitive production sketchpad for iPhone® and iPod® touch. Available now at the App Store for only $1.99 / 1.59 €.

BEST DEAL OF THE YEAR on Slate Digital and Steven Slate Drums plugins

2011-11-24T23:26:00.001+01:00

If you want the BEST DEAL OF THE YEAR on Slate Digital and Steven Slate Drums plugins.. its coming MONDAY. 50% OFF!

On Monday, and Monday only, prices on Slate Digital and Steven Slate Drums products will be slashed with up to 50%.

Reaper Upgrades to 4.1.2

2011-11-21T10:40:00.000+01:00

REAPER is digital audio workstation software: a complete multitrack audio and MIDI recording, editing, processing, mixing, and mastering environment.

Record audio and MIDI from multiple inputs simultaneously
Layer recorded tracks and takes over previous recordings
Edit recordings in almost any imaginable way
Hundreds of audio and MIDI processing effects included, or choose from thousands of third-party effects
All editing and effects are completely non-destructive
REAPER works with almost any hardware and can be used in combination with a vast universe of other software and plug-ins.

Take advantage of REAPER's full functionality using only your current computer and a microphone, or use REAPER to drive an entire professional recording studio.

REAPER 4
REAPER updates are evolutionary, not revolutionary. REAPER 4 is not a radically new experience from REAPER 3, but adds a number of useful new features, ease of use improvements, and even more of that legendary REAPER customizability.
Tweak, correct, and mangle audio with pitch envelopes, which can be applied to individual media items.

Create fully automated surround mixes with multichannel track metering and the highly flexible ReaSurround plug-in. Apply rotations, transformations, and diffusions, and even automate the positions of the speakers themselves.
Batch rendering wildcards provide sound designers with unprecedented flexibility when generating sound files in bulk.

Manage project media and FX with the Project Bay, where you can collect, organize, and edit a list of resources that you are using, or might use, for different types of projects.

The Latest Updates
REAPER upgrades are released whenever we improve or fix something, sometimes as often as every few days.
These point upgrades are free to any REAPER user.

REAPER 4.12 fixes a few bugs, old and new. Before that, REAPER 4.11 offered improvements to MIDI recording, including a new MIDI latch-replace mode which starts recording on the first note press, and vastly improved recording and monitoring behavior when using punch areas -- making REAPER's MIDI recording feel a lot more like audio recording.

v4.11 also improved REAPER's video support: track mute envelopes now affect video (allowing increased editing capability), QuickTime decoding is experimentally supported on 64 bit systems, and there is now better support for the latest version of FFmpeg.

There is a fancy new option for volume knobs on media items (in case you prefer knobs to volume handles).

But that's not all: included in that update were many minor bugfixes and compatibility improvements, as well as 6 weeks worth of performance and productivity enhancements! Oh yeah, and more UI elements are now themeable, such as our list and tree views.

Holiday Special: 25% Off All Ableton Products!

2011-11-21T10:34:00.002+01:00

Holiday Special: 25% Off All Ableton Products!

Create and Customize Your Sound

Whether you’re new to Ableton Live, want to customize your sound with Max for Live, or are looking to expand your Ableton studio with Suite 8 or Partner Instruments, Ableton has something for you this holiday.

From November 15, 2011 to January 15, 2012, all Ableton software is 25% off.

Harrison Mixbus Sale Price!

2011-11-19T17:33:00.001+01:00

Mixbus
Mixbus™ is a full-featured Digital Audio Workstation (DAW) with "True Analog Mixing"™: a combination of Harrison's world-renowned sound and features in a knob-per-function interface. Mixbus™ provides a solution for engineers and mixers who need a recorder, editor and mixing system with world-class sound and features.

Traditional DAW mixers were designed by companies with no pedigree in music mixing. Harrison consoles are known for their great-sounding EQ, filters, dynamics, and bus summing on every track. Now Mixbus offers every engineer a real Harrison music console "in the box". With Mixbus's logical knob-per-function interface, the user works with the fluidity of a traditional analog recording studio while retaining the convenience of a DAW. Mixbus enables the user to record, edit, and mix a musical performance "in the box" but get a sound that rivals the golden age of album recordings.

Mixbus Features:

Straightforward “knob per function” mixer layout based on Harrison's renowned 32-series and MR-series music consoles.
Precision DSP algorithms for EQ, Filter, Compression, Analog Tape Saturation, and Summing based on Harrison's world-renowned large format analog and digital mixing consoles.
Unlimited stereo or mono input channels (based on available CPU power) featuring High-pass Filter, EQ, Compression, and 8 Mix Bus sends on every channel.
8 Stereo Mix Buses (can be used for groups or auxes) featuring Tone controls, Compression, Sidechaining, and Analog Tape Saturation.
Stereo Master Bus that features Tone controls, Analog Tape Saturation, K-meter, Stereo Correlation Meter, and Limiting to help you make polished mixes.
Plugin delay compensation to support effects such as parallel compression.
Comprehensive "at-a-glance" metering with peak, peak hold, and compressor gain reduction visible on every track and bus.
Extensive DAW features via the Ardour Digital Audio Workstation.
Supports AudioUnit plugins and any CoreAudio interface. ( Mac OSX )
Supports LADSPA plugins and any JACK-capable interface. ( Linux )
New Mixbus Version 2.0.4 released Aug 30, 2011.

Prism Sound Orpheus and ADA Year-End Offer!!!

2011-11-19T16:20:00.000+01:00

Recording and Production Offers

Amazing year-end offers!

Orpheus deals
For a limited time there are some unusually good Orpheus offers available! Find out more by filling out the contact form below and you will be contacted by your nearest distributor or dealer for the latest deals and offers.

The Orpheus FireWire interface offers Prism Sound's acclaimed conversion quality in a 1U solution complete with mic pres, comprehensive monitoring and routing configurations, low latency DSP mixers, MIDI connectivity and with ADAT and S/PDIF digital I/O and much more to provide you with the most complete professional FireWire interface available.

Do not wait to test and love this product any longer! There is also currently a little competition to win an Orpheus that you may be interested in.

ADA-8XR offer
15% off all ADA-8XR configurations for a limited time only! If the Orpheus deals were not enough you can now also save further with this very limited ADA-8XR offer.

The ADA-8XR multichannel converter is the ultimate I/O solution where both flexibility and uncompromised quality is critical. If you are looking for a reliable and low-latency AES solution for your PCI-e based system, convenience of plug-and-play via FireWire, seamless integration with your Pro Tools HD DAW or even DSD the ADA-8XR can accommodate your needs.

Whether you need 8 channels of pristine conversion for your native system or a 64 channel (or more!) world-class solution for your multitrack requirements the ADA-8XR is the definitive choice.

Contact us now to discuss your requirements and learn how our ADA-8XR interface can complement your workflow and just how flexible this legendary product is in any audio production setup.

These offers are available through participating dealers only. Offers end 31st December 2011. Contact us using the form below for more information.

CUBASE 6.0.5 UPDATE RELEASED

2011-11-16T16:40:00.000+01:00

Steinberg has just released the previously announced and officially supported 6.0.5 maintenance update for Cubase 6, Cubase Artist 6, Cubase Elements 6, Cubase AI 6 and Cubase LE 6. Including refined automation handles, full support for two WK-Audio remotes and improved decoding performance under Windows, the 6.0.5 update integrates several enhancements and fixes that make the Cubase experience even more exceptional.

The 6.0.5 version contains the following improvements and corrections as well as all improvements of previous maintenance updates.
The 6.0.5 maintenance update introduces the following improvements:
 Automation handle visibility
Automation handles are now displayed independently from any zoom level as soon as the mouse cursor is placed over an automation lane. If automation handles are selected, handles on all other automation lanes are displayed as well.
 Support for WK-Audio ID-Console / ID-Mix-VU Cubase 6 now fully supports the WK Audio ID-Console /
ID-Mix-VU to ensure seamless integration.
 Video engine optimizations
Under Windows OS, Cubase 6.0.5 features further improved decoding performance for Motion JPEG OpenDML video in AVI containers as well as Photo JPEG material.

Brainworx Vertigo VSC-2 Compressor plugin out now!

2011-11-11T22:53:00.000+01:00

Modeled faithfully after Vertigo's 6,000 $ flagship compressor.
Vintage King calls it the 'Mercedes of VCA Compressors' on their website.
Hear it to believe it.
'We are amazed how accurate the plugin simulates the real deal. We have compared it to the hardware several times now in a professional studio and cannot hear any difference at all. Is that good or bad?!?', says Andreas Eschenwecker, CEO of VERTIGO SOUND.

64 Bits and AAX. January 2nd, 2012. Promised.

We are now officially launching 64 Bit and AAX plugins in January 2012.

Due to internal beta testing delays we have to shift this major new release for the whole line of our Brainworx plugins, as well as for the SPL and Elysia (and Vertigo, of course) to January 2nd, 2012.

Thank you for your patience. We want this to be really good.

Dubfire

2011-11-11T22:46:00.003+01:00

Dubfire is a true Dance music veteran. As part of Deep Dish, Ali Shirazinia conquered dance floors and radio waves across the world, remixing everyone from BT and Michael Jackson to The Rolling Stones and Justin Timberlake and claiming their fair share of Grammy nominations.

As a solo artist, his success has been no less remarkable, playing in some of the world's biggest clubs, remixing Plastikman, Axwell and Booka Shade, starting and releasing on his own label, SCI + TEC, and winning multiple awards including Beatport's Best Minimal and Best Techno artist. On top of his success as an artist, Dubfire also pushes technology in his DJ sets, testing Native Instruments' X1 and S4 controllers long before they hit the market and incorporating Maschine and even TouchOSC into his shows. We grabbed him backstage at one of his shows for a chat about all things technology.

First thing's first, tell us about your live setup.
"I use Native Instruments' Traktor on a 17" MacBook Pro, using two X1s as controllers. I run Ableton Live and Maschine on a separate 13" MacBook and I use a TouchOSC template to control both. I also use a Roland Space Echo RE-201 pedal for some added tape delay effects.

"So in total, I've got six different channels going on an Allen & Heath XONE:92 mixer and yes, at times it does my head in!"

You're a big Traktor fan – when did you make the move and why?
"I don't recall the actual year but it was a long time ago. I had been using Serato up until that time but felt very limited by its lack of features and the poor sound quality of their audio interface. Not to mention that they had very limited artist relations with DJs like me who were more involved in the Electronic underground circles.

"They seemed to make Hip Hop and mash-up DJs more of a priority, which is fine but that didn't work for me. The staff at Native Instruments have been nothing short of amazing in making me feel involved in the continued evolution of their software and hardware."

You said you use TouchOSC – do you think the iPad has a big part of the future of DJing?
"Very much so. Especially in terms of how you can create fully customisable templates for TouchOSC
as well as the general use of the iPad's multi-touch display – you are no longer limited by hardware design. And I'm sure by now everyone has seen the Token multi-touch display video demo online so I'm salivating at what could be in store for us just around the corner!"

You were one of the fi rst DJs to use Native's S4 – what is it you like about it?
"I've only really used the prototype and once live at Space in Ibiza where we fi lmed it in action for the teaser video. I do like it – it's an all-in-one unit that will eliminate the need to carry all but your laptop, a USB cable and an RCA cable. It is absolutely ideal for some people.

"Whether it's right for me per se, remains to be seen but it is a fantastic new tool – especially used with the new Traktor update and control of the sample decks.

Tell us about your studio setup. What's been the biggest technological change since you started out?
"Mainly moving from straight MIDI to a strict DAW setup and the advances which have been made to sequencing and editing software. I've always said that it's fi ne to be a slave to technology but it's the ideas that matter the most.

"The genesis of creativity begins in the individual mind and that is the true measure of the
artist. Technology merely allows us to express that in different ways."

Speaking of technology, any technological DJ disaster stories for us?
"Of course – way too many to mention! I've had bad USB cables that have died mid-set, cutting out all sound output, I've hit the wrong button on my controllers and killed the music, I've had my old black MacBook overheat and shut down about four or five times during a gig, I've had my tour manager
accidentally pull my USB cable out of my MacBook while he was moving it – as I was playing in front of 10,000 people!

"More recently, I knocked a glass of sake onto my own mixer while playing with Richie Hawtin
during our Click 2 Click show in Amsterdam in 2010 and basically killing the mixer for the remainder of the night! Not good."

According to Twitter, you seem to be touring a lot – and eating in great restaurants! When do you get a chance to make music?
"I don't! At least I didn't get much of a chance in 2010. But honestly, I worked tirelessly in the studio my entire career in pre-, mid- and post-Deep Dish and then beginning with my solo career, right up until March 2010 so I needed a break.

"Having said that, I've dived right back into the studio in 2011."

Does your setup or equipment change?
"The equipment and setup is pretty much always the same but song selection will vary, depending on who is playing before me and the mood that they have created in the room – sometimes the DJ has killed the vibe and I have to step in and do my best to create one again and other times they've been rocking the room and I have to figure out what the hell I'm going to play!

"Every situation is unique and challenging and that's what keeps me inspired."

Skrillex shares his production secrets

2011-11-11T09:45:00.001+01:00

Interview: Skrillex on Ableton Live, plug-ins, production and more

Interview:

on Ableton Live, plug-ins, production and more
"It's all about what makes you smile at the end of day"
Computer Music Specials, Thu 3 Nov 2011, 4:22 pm UTC

Dubstep producer Sonny Moore, AKA Skrillex, is riding the crest of a wave at the moment, and he recently spoke to Computer Music Specials magazine from his tour-bus-cum-studio and gave them some insight into how he creates those speaker-shattering basslines and incendiary beats.

Check out the interview below; for more producer chat - including interviews with Noisia, Carl Craig, Steve Lawler and more - and tutorials, check out the 50th issue of Computer Music Specials - Beats & Bass: The Producer's Guide - which is on sale now.

You're a big Ableton Live enthusiast. What's it got that other DAWs don't?

"I think, for laptop producers especially, it's just so intuitive in the box. Everything is laid out and you don't have to go searching for things like automation or plug-in parameters - in fact, all the things that are really hard to do in other DAWs. Ableton's just very fluid and quick."

Your editing skills are all self-taught. Do you think that helps you to do things that perhaps the manuals wouldn't tell you to do?

"I wouldn't call myself stubborn in an egotistical way but I do like the idea that in the past, what I do would not have been considered production - it would have been considered noise. I like doing things in a very minimal, unconventional way as a personal way of saying, 'Look, I made a career out of carefully and craftfully, though unconventionally, making records on laptops and blown speakers.'"

What are your top soft synths?

"My two personal favourites are NI's Massive and FM8. My best monster bass sounds have come from FM8. People think they all come from Massive, but most of the ones that kids online are trying to recreate in Massive are actually from FM8. I also really like Sylenth1, my Tone2 Gladiator and some other granular soft synths as well. That's about it, man.

"I haven't really expanded too far off FM8 and Massive because I know them so well and can pretty much make any sound I want with them - especially with FM synthesis, which is so basic.

"I also use Operator a lot, which is Live's FM synthesiser. It's a similar kind of thing, but the matrixes are different so you can make different kinds of sounds."

What filters and distortion do you use to create the signature Skrillex sound?

"I really like iZotope Trash, which is a great plug-in for distortion, as is Ohmicide, which I love. It's an absolutely crazy multiband distortion, compression, EQ and filter, which pretty much lets you do anything."

Do you see programming as a joy or a necessary evil?

"It's only evil when I work so fast that I haven't properly labelled anything and my project files are all messy. To me it's always a joy to create music no matter what it takes to actually get there. The real evils are always whatever stops you from doing that - like if your CPU is spiking and you have to sit there and bounce all your MIDI to audio. Now that's annoying!

What type of pitch/formant processing do you use to create your amazing vocal sounds?

"I use Melodyne for formant stuff and basic pitch, but then I'll print a whole line of audio. To be honest, for all my detailed cuts, chops and actual lines I'll just basically take my vocal or someone else's and process it through Melodyne in a certain way. All the stylistic treatments I do then all come from audio slicing and transposing in Live.

"Melodyne is crazy - with DNA you can actually take the individual sounds in a chord, isolate them and then change any of them."

How do you get your beats to drop so damn hard?

"The easiest trick I use is basically to make sure that whatever sample you're using, it's hitting at 200Hz. Look through a spectrum analyser and you'll see a little 'dunk', and it should sound like that. The beginning transient should look like a brick that kind of bubbles out into the notes, creating a big hit that dominates the whole spectral sphere of your music for that one second. The drum becomes the loudest element in your mix just for an instant."

Any mastering secrets you can share?

"Maybe there are magic techniques out there that I don't know about, but I think mastering is something that's given too much credit. I always get people asking me about my mastering techniques and where I get my stuff mastered, but for me it's more about getting the mix right.

"Mastering, for me, literally consists of an iZotope Maximizer, maybe with a little bit of EQ and harmonic excitement, but that's it. It's all about what makes you smile at the end of day."

Skrillex's More Monsters and Sprites EP is out now on Big Beat/Asylum Records.

www.skrillex.com