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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

The post This granular convolver hardware is the latest creation from Tatsuya Takahashi appeared first on CDM Create Digital Music.

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

The post UA unveils a maxed-out Thunderbolt 3 Apollo – and it’ll monitor surround sound appeared first on CDM Create Digital Music.

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Punctuate, saturate, EQ, and elevate with the latest Eventide plugins

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.)

https://www.eventideaudio.com/products/third-party-plug-ins/mastering/elevate-bundle

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.

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