zplane.development has released version 1.1.0 of ppmBatch, the cross-platform loudness batch processing application for Windows and Mac. The update includes support for 7.1. channel configurations. ppmBatch allows you to analyze and normalize your audio files according to various broadcasting loudness standards. It batch processes files in multiple real time and provides intuitive user feedback about […]
Plugin Boutique has announced a Back To School Sale on Audionamix, offering discounts of up to 50% off on the Trax Pro SP and XTrax Stems audio separation tools. ADX TRAX Pro 3 is Audionamix’s most revolutionary software release to date. With improved separation quality, faster processing speeds and enhanced spectral editing features, separating a […]
Plugin Boutique has launched the exclusive limited time Chord Creator Bundle, offering a great deal on the bundle comprising the Scaler plugin and W.A. Production’s InstaChord and InstaScale. For anybody wishing to inject advanced musicality into their productions, the Chord Creator Bundle most certainly delivers with this inspiring selection of three ingenious software tools. This […]
Sound processing machines have always tread a line between necessary tool and creative effect. The latest mixing and mastering bundle from Eventide promises on both those fronts.
It’s called the Elevate 1.5 bundle, with two new plug-ins, and two major updates to existing plug-ins (including the titular Elevate). And it’s made for mixing and mastering, though there’s clearly appeal for production, too.
Kudos to Eventide for coming up at least with clever titles for the stuff in their most recent bundle, in an industry that, like carmakers, so often resorted to unintelligible combinations of letters and numbers. (BMW 325i? UA 1776 LN revision H? Who knows?)
So, you get the Punctuate, the Saturate, the Elevate … which are at least descriptive, if slightly sounding like EDM festival stages or energy drink flavors. (I’ll meet you at Saturate! E!-vent1d3 is on in 30! PLUR, bro!) And the … EQuivocate. Okay, that one earns extra points on pun factor, minus a few by sounding like what happens when you get yelled at by your mixing and mastering engineer.
But it’s what the Eventide processors do that’s very cool. Rather than simply emulate vintage gear – since you’ve got plenty of options for that – these are modern processors that focus on redesigning processing in a way that’s closer to how your human hearing works.
And appropriately enough, then, they’re part of a collaboration between Eventide and Newfangled Audio, a sort of boutique DSP algorithm house founded by veteran Eventide engineer Dan Gillespie. (Science!)
EQuivocate is a “human ear” EQ – so a graphic equalizer that’s designed not around a set of theoretical frequency bands, but around frequencies that you actually hear.
Elevate is a combination of multi-band limiter (so you get frequency-specific dynamics if you want), that “human ear” EQ, and audio maximizer. The idea, then, is to control both dynamics and frequency domain to max out your sound in a way that’s human-focused, bringing those integrated tools to bear on the mastering process.
New to those tools, EQuivocate has more controls and range adjustments, and Elevate adds a true peak limiter – so you get the futuristic features but without clipping or becoming broadcast unsafe in the process.
Added in this release, while the new bundle is only dubbed “1.5,” are two fascinating all-new creations. And they’re both all about driving the sound, in a day and age that calls for louder sounds, without squashing.
Saturate is a spectral clipper – so in addition to the 24dB drive, you can continuously control the way the sound curves and distorts. (Hey, I said some of this stuff could be fun to abuse in the production phase.)
Punctuate is a transient emphasis plug-in – so you take 26 bands, again shaped around the human ear, and emphasize or suppress attacks. And that seems really appealing – the idea that you dig into shaping the envelopes of elements in a mix, beyond just applying conventional dynamics processing or compression with some blanket controls over everything. It’s less “big hammer,” more precision tool. (I think it’ll also be interesting to compare this to Accusonus’ Beatformer which – while not the same thing has some related ideas. DSP zeitgeist, basically.)
I always get a little nervous when magic tools for mixing and mastering are unleashed on producers who don’t entirely know what they’re doing. I should know – I’m one of those people. But on the other hand, the hearing-focused design of these tools and the ways they let you work with dynamics and frequency domain make them interesting to the creative process, too, when it’s actually okay that you’re messing around and breaking the rules.
I wanted to go ahead and write up this news in advance of a review, because I’m going to take a look with a couple of other producers/engineers so we can go 360-degrees on how you might use this. Let us know if this raises any questions you’d like answered (and anything else you’d like to see us review).
AU/VST/AAX, macOS 10.7 and later, Windows 7 and later.
US$139 promo, $199 after that; upgrade from EQuivocate US$99 intro, $149 after. (It’s a free upgrade if you have the original Elevate.)
For you Eventide devotees, here’s the full list of what’s new in the existing two plug-ins in the bundle:
Elevate 1.5 Release Notes:
1. Added True Peak Limiting mode to Elevate as well as True Peak output metering
2. Added new Saturate Spectral Clipper plug-in
3. Added new Punctuate Auditory Transient Emphasis plug-in
4. Alt click now sets sliders to default in both DRAW CURVE on and off modes.
5. Updated some graphics
6. New UPDATE button will inform user when further updates are available
EQuivocate 1.5 Release Notes:
1. Added Range Parameter which will allow you to scale and invert the EQ curve, even after MATCH EQ is locked in.
2. Added Band Activate/Deactivate switches to allow you to hear the effect of each band in context.
3. Alt click now sets sliders to default in both DRAW CURVE on and off modes.
4. Updated some graphics
5. New UPDATE button will inform user when further updates are available
The post Punctuate, saturate, EQ, and elevate with the latest Eventide plugins appeared first on CDM Create Digital Music.
Lakeside Audio has announced the release of Isola Pro FX, an innovative audio plugin for separating audio input material into its components. Unlike many other products using simple left and right channel subtraction or phase/invert filter methods, the underlying algorithm works in real time by using psychoacoustic analysis. Another great advantage compared to state of […]
Audified has released SpeakUp, a bundle of two responsive, purpose-built plugins for streamlining and simplifying the process of voiceover and YouTube show creation. The bundle comprises SpeakUp Sensor for working with voice tracks and SpeakUp Performer for working with video/audio tracks. SpeakUp has emerged from the necessity to simplify the process of creating voiceovers and […]
NUGEN Audio has launched SigMod, a collection of eleven single-process modules which let you energize and enhance your existing plugins and get more from your DAW. SigMod easily allows you to add features to make your workflow more powerful and effective. Instantly enhance the functionality of your plug-ins and DAW with eleven different signal modification […]
It’s time for another trip into the strange and wonderful world of artist-created Reaktor ensembles. This time, our guide is dub techno maestro Deadbeat.
The Canadian-born, Berlin-based Scott Monteith is an artist whose chops are at peak maturity, from timbre to rhythm, recording to mix. And Scott’s latest, Wax Poetic For This Our Great Resolve, is both more personal — pulling from inspirational texts from friends — and more sonically intimate. The entire album sounds open and airy and organic, thanks to using acoustic re-recording of electronic elements. Every percussion hit, every synth line was either recorded in real space in the studio or recorded out of the box and into that open space and then miked.
Scott and I got to spend a pleasurably leisurely interview talking about the record, which I wrote up for Native Instruments’ blog:
Deadbeat on a return to hope, sound in real space
With all this focus on acoustic recoridng and re-recording, you’d think there wouldn’t be much to say about software – but you’d be wrong. There’s yet more shade and color around these sounds that’s produced by synthetic processing, a whole lot of it in Reaktor.
“There’s tons and tons of extra stuff that you would normally delete in vocal takes or guitar takes or whatever that ended up as sauce for feeding vocoders or feeding [Reaktor ensemble] grainstates,” says Scott, “or even some of the real classic [ensembles].” You’re hearing some of that in the hyperreal, clear color of the arrangements and mix.
“I think it’s nice to treat that stuff completely independently,” Scott says, “and then you end up with this bank of stuff that you know is going to be in key. And it’s somehow relatable, whether it be melodically or aesthetically – because you’ve fed it this stuff from a particular track. And then you go back to arrangement mode, because then I can take off my sound designer’s hat and put on my arrangers’ hat.”
Scott is confident enough in his skills to give that secret sauce away, so here’s a tour. Some of these are some long-lost gems of the library, too, so don’t expect to find them just by sorting for the latest or most popular ensembles. Some of these were used on this particular record, others represent a related techniques but have been used on other productions.
“I’m using that just to add color to things. I love vocoders, period.
It’s like taking the vocals of Gudrun talking or Fatima talking, and using that as the modulator and the carrier signal being the chords in the track. Or it could also be the extra recording of the high hats in the room, and vocoding the vocals with that. So, then you have something rhythmic that’s the same, and in the same air, but then can be free as its own track. Or taking the guitar or the bass…”
GRIP Grain Cloud Synth
Uwe G. Hoenig
Polyphonic granular synth
“This is a playable one – this is one you can play with the keyboard. And you can load the oscillator is whatever you load into it.”
Denis Gökdag / zynaptiq, Native Instruments
KOMPLETE effect; available à la carte or in KOMPLETE ULTIMATE
“It’s fantastic. It’s beautiful. It’s a beautiful combination of super, super simple granular synth process combined with lovely lush reverb. And it’s just amazing.”
Random sound generator
“There goes a few hours of time,” says Scott. “This whole frequency modulation and detune and weird shit that’s going on in these guys is amazing.”
“There’s this preset – ‘Coming Up From Hell.’ I use that a lot – I’ve been using that for years. If you’re rolling along, and you want to create density, it’s like, okay, flip this into the Ultimate Reverb, and all of a sudden you’ve got this underlying loud of ffffoooooosssssh. You’ve made things thick without adding another element.
And that with some sort of distortion, and some sort of sidechain compression to make sure that it doesn’t get in the way of anything — all of a sudden, you’ve created raging hell.”
Granular effect processor
Don’t forget the granular Reaktor ensemble that started the craze. Martin’s landmark granular processor has had an influence even outside the Reaktor community on imagining how grain processing effects can be used as instruments.
Hacking together custom ensembles
The biggest advantage of using Reaktor as a modular environment is, you can hack together what you need if a particular tool doesn’t do exactly what you want. Scott long ago made his name as a Reaktor patcher, but don’t feel obligated to achieve mastery — even he doesn’t necessarily go that route now. “The last one that I did … this thing [Deadbeats] 13 years ago.”
The aforementioned Grain Cloud synth, for instance, he used to substitute oscillators inside a drum machine. Or with granular processors, he’s swapped a sample player with a live input, as on The Swarm. These aren’t complicated hacks – you barely need to know how to operate Reaktor to pull them off. But they then open worlds of new performance and sound design possibilities.
In another instance, Scott had a happy accident hacking mmmd1, the “morphing minimal drum machine” by grainstates creator Martin Brinkmann. That ensemble includes a series of assignable X/Y controllers which can modulate the filter, bitcrush, and so on, with step-based sequencing.
Scott tried applying a child ensemble with a crossfader for interpolating between presets – and that’s when he was surprised. “Because this is step-based, morphing between presets on this thing, as you would go across, it would go thththththththththt …. and you would get these totally twisted, glitchy crossfade things.”
Thanks, Scott! Got more favorite Reaktor ensembles, other granular tools, or the like? Let us know in comments.
Deadbeat Wax Poetic For This Our Great Resolve [Review: XLR8R]
The post Deadbeat’s secret sauce Reaktor picks for “weirdo” production appeared first on CDM Create Digital Music.
Plugin Boutique has launched a sale on Audionamix, offering up to 29% off on bundles featuring its SVC Speech Volume Control, TRAX Pro 3 audio editor and VVC vocal processing plugin. Since 2008, Audionamix has established itself as the global leader in audio source separation. Based on years of audio research, the company developed the […]
How do you demo or document something like KOMA Elektronik’s Field Kit FX? Well, you treat it like the mad experimental sound laboratory it is.
KOMA’s Field Kit FX was a massive hit even as a crowd funding project. It’s still listed as preorder, but will start to ship this month, beginning with backers.
In the meantime, our friends and music mavens Isabella and Zuzana (the latter a sometimes CDM contributor) have been working on helping document what you can do with this beast, from deep inside the Neukölln lair of the indie manufacturer.
And… yeah, it’s darned cool.
The “manual” isn’t a dry technical doc, either. It’s a recipe book full of creative ideas:
And the videos show how you can build ideas with this, as well. The whole package is the very opposite of a uni-tasker. So there’s a spring reverb, digital delay, a four-channel mixer with tone control, frequency shifter, looper, bit crusher, envelope generator, and a little sequencer. And both digital and analog effects have copious mappings to control voltage, so you can manipulate and automate effects from other gear (including modular devices). That means there’s a whole lot to look at.
There’s a video featuring the looper & digital delay:
And the delay and the spring reverb (the rectangular tank you see attached):
Sequencing is included, too, for some rhythmic effects, so you can add that in:
Check out the hardware:
The post KOMA’s Field Kit FX is like a crazy studio in a tiny box: videos, manual appeared first on CDM Create Digital Music.