RePAN real-time audio separation plugin by AudioSourceRE available now

AudiosourceRE RePAN

AudioSourceRE has announced the release of RePAN, an audio extractor plugin that offers real-time panning-based separation of stereo mixes, using AudioSourceRE’s Digital Signal Processing techniques. The plugin allows you to separate and remix stereo mixes on the fly, adjusting the width and rebalance the volume of existing mixes in real-time. RePAN allows the user to […]

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McDSP combines software & hardware with APB-16 Analog Processing Box

McDSP APB 16

McDSP has announced the APB-16 Analog Processing Box, its first ever hardware box. The McDSP Analog Processing Box (APB) combines the flexibility of software with the fidelity of premium analog processing. Each channel can be controlled by a Pro Tools plug-in giving true digital workflow with genuine analog performance. Processing options include compressors, mastering limiters, […]

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Signum Audio releases BUTE Batch Processor

Signum Audio BUTE Batch Processor

Signum Audio has announced its new BUTE Batch Processor, a highly adaptable server-based solution aimed towards gaming studios dealing with vast amounts of dialogue and localization. Ideal for large projects, the BUTE Batch Processor is designed to be stable, reliable, performant and most importantly to deliver highest fidelity audio. It is highly configurable and can […]

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MusicDevelopments updates RapidComposer to v3.6 + 33% OFF Sale

MusicDevelopments Rapidcomposer

MusicDevelopments has announced version 3.6 of RapidComposer the music prototyping and automated composition software. The update features a new Piano Chord Pattern Generator, Strum Pattern Generator, and a chord voicing editor for the master track which makes editing/splitting/gluing/previewing chords extremely easy. Many other improvements are also included. Changes in RapidComposer v3.6 New phrase generator: Piano […]

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Waves intros new SoundGrid plugin processing DSP units

Waves Soundgrid Extreme Server C double rack

Waves Audio has introduced the SoundGrid Extreme Server-C, a plugin processing beast for the studio and live. Compact and powerful, light and robust, this DSP unit can effortlessly process hundreds of SoundGrid-compatible plugins in real time, live or in the studio – taking only half the width of a standard rack. The Waves SoundGrid Extreme […]

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Waves Audio opens pre-orders for the SoundGrid Mobile Server

Waves SoundGrid Mobile Server

Waves Audio has announced it has opened pre-orders for the Waves SoundGrid Mobile Server, a portable DSP unit that is great for traveling, mixing small live shows and for the studio. Don’t be fooled by its size; the SoundGrid Moblie server definitely packs a powerful punch. With an Intel® Core™ i5 processor and 4 GB […]

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Sound Forge Pro 12 Advanced Audio Waveform Editor 20% OFF!

Magix Sound Forge Pro 12 SaleMagix has launched a sale on Sound Forge Pro 12, the advanced audio waveform editor for Windows. SOUND FORGE Pro is back and it’s better than ever. It has always been an incredible tool for recording, editing and processing audio at the highest possible standard. Thanks to its multi-channel recording, intuitive workflow, extremely powerful editing […]

This granular convolver hardware is the latest creation from Tatsuya Takahashi

There’s a nice gift for Red Bull Music Academy attendees: a hardware convolver effect from the man who led the team at KORG that gave us volcas and minilogues. Here’s a sneak preview.

The Granular Convolver is a collaboration between Tatsuya, now working as an independent designer and relocated to Germany from Japan (while still in an advisory position with KORG), and Berlin’s own E-RM Erfindungsbüro, maker of obsessive-quality clock devices. (Founder Maximilian Rest is the design mind there.)

I’ve got one in-hand, and will detail its operation with some sound samples shortly, but here’s a quick teaser.

First, a Jony Ives (sorry)-style video from Tats:

The important thing: this Raspberry Pi-powered device feels amazing, like a heavyweight metal luxury item, and makes wonderful sounds.

The basic operation:

1. Record a sound snippet.
2. Play back that sound snippet via a granular engine.
3. Convolve that playback with a live input, combining the two sounds – the timbre of your original sound, the envelope of what you’re playing now.

There are also some features for storing and recalling presets, which make this performance friendly.

Why this matters: it gives you an expressive way of “playing” an effect, like an instrument.

And it’s a unique boutique hardware making project, for the particular context of an event – very different than the mass-manufactured designs of something like the volca series. The units were all hand-assembled (by Tats himself) here in Berlin, and even the boards and cases were made here, as well, so it really is a Berlin manufacturing product in a way most things aren’t.

More on this soon – and you can bet if you follow any RBMA attendees, you’ll see some of their experiments with this hardware show up in social channels!

The last time Tats worked with Red Bull:

There’s a synth symphony for 100 cars coming, based on tuning

And – while it’s important to note he was part of a team – some commentary on the Tats Era at KORG (and still very curious what that team will do next!):

Visionary Tatsuya Takahashi leaves a huge legacy as he departs KORG

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UA unveils a maxed-out Thunderbolt 3 Apollo – and it’ll monitor surround sound

Universal Audio’s Apollo flagship audio interface and DSP platform is getting a big generational refresh and Thunderbolt 3. There’s a lot here, but maybe the most significant development is that 5.1 and 7.1 surround monitoring support is coming later this year.

It’s the Apollo X line for Mac and Windows – the x6, x8, x8p, and x16, all with Thunderbolt 3 connections to the computer and loads of I/O.

“UA’s hardware are just dongles for their plug-ins” – yeah, I hear that a lot. But the Apollo line was from the beginning the hardware that changed that. It said to users, hey, what if that add-on was also one of the best audio interfaces you can buy, even before adding in the DSP benefits. And then, over time, we’ve seen UA bake in greater functionality using that DSP horsepower.

The new Apollo really speaks to the high end of the market. These are the people who do depend on the reliability of the DSP hardware – because native processing, while enormously powerful, lacks the same predictability. (That’s a nice way of saying your CPU will suddenly peg and make a horrible glitching noise out of your sound.) That’s good to have anywhere, but especially in production environments in studios, in TV and video and games, in live tracking. A “studio” isn’t what it once was, to be sure, but then that’s also been the advantage of UA’s mobile interfaces. This is still about those situations where time is money and quality is everything, even if that use case may or may not be a studio per se.

Nicely enough, UA has managed to price out these systems for that full range, from the entry-level model at two grand (in reach of at least some serious independent producers) up to a maxed-out $3499 model.

In the process, we also see UA’s move from its more iterative, provisional approach of the past to a top-to-bottom hardware upgrade and greater software integration we get now. Having been on the UA train for a while, their stuff is just way more useful and way more reliable and easier to configure than when it started.

So here’s what you get:

All new A/D and D/A conversion which UA claims now best the industry for dynamic range and low signal-to-noise.
More DSP. 6-core processing boosts DSP by 50% over the past generation.
Mic preamp emulations. So, here’s another reason to run dedicated DSP – you can track through integrated preamp emulations of Neve, API, Manley, Fender, and more, saving money and space and adding flexibility in the studio, and then letting you take that studio rig on the road in a way that was previously impossible.
Surround formats up to 7.1, with speaker calibration and fold-down.

The surround thing is coming quarter 4, and obviously makes this way more appealing to exactly the sort of production environments likely to be attracted to UA in the first place.

There’s also various nice little touches: a built-in talkback mic and cue support, +24/+20 switchable operation, and a nice software bundle which interestingly now includes Marshall and Ampeg models. (I’m guessing that’s part of this focus on producers.)

The various models:

Apollo | x16 — US$3,499
133 dB dynamic range, THD+N -129 dB, 18 x 20 interface.

Apollo | x8p — $2,999
8 Unison-ready mic preamps, 129 dB dynamic range, switchable +24 dBu headroom settings, 18 x 22

Apollo | x8 — $2,499
Like the above but 4 Unison mic pres, 18×24.

Apollo | x6 — $1,999
The “producer one” – 2 Unison mic pres and Hi-Z ins, still surround support up to 5.1 (the others do 7.1), and 16×22 I/O.

The full range looks like a winner to me; I think we will see a lot of these show up in the studios, mix rooms, post facilities, and a lot of producer rigs, as UA promises.

There just isn’t anyone else doing this kind of platform. (The closest, Softube’s Console 1, in fact works perfectly with the UAD so it’s less a rival than a part of the same ecosystem.) It’s not going to be for everyone, but it does continue to look better for the people it’s for.

https://www.uaudio.com/apollo-x

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zplane updates ppmBatch loudness processor with support for 7.1 surround

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 […]