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Imogen Heap’s Amazing Home Studio

Big Al — Tue, 15 Mar 2011 16:00:30 +0000

You’ll wish your spare bedroom looked like this…

Imogen Heap is a very interesting singer/songwriter – a compelling live performer and a studio whiz. Perhaps best-known for her contributions to the soundtrack for the TV drama The O.C., she released her third solo album, Ellipse, earlier this year.

A stunning Pro Tools HD setup forms the centerpiece of Imogen’s work area. “Pro Tools is definitely the main staple of my studio,” she says. “Although I can work in other ways [she also has Logic and Ableton Live], the amount of editing and noodling around with audio I do makes it work really well for me.” Discussing her Digidesign ICON desk, she admits: ‘”I like this desk, but to be honest the only thing I really use on it is the scroll wheel to make weird and wonderful noises.” (Must be nice!)

Imogen’s live setup is housed in a perspex grand piano case, of which she’s very proud. “I don’t like the idea of sitting behind keyboard stands and such on stage, but sitting behind an actual piano is completely different so I designed this and it looks beautiful when it’s on stage. Inside I have a [Power Mac] G5 running Ableton Live and triggering clips via a hard-wired Korg microKontrol or another microKontrol on wireless MIDI so I can wander around the audience etc if I want.”

Here’s one of those microKontrols, and behind it, Electrix’s Repeater. Imogen concedes that this is “quite lo-fi and not the best quality,” but feels that there are benefits to using it live. “What I like about [it] is the visual interaction that the audience gets from you using it instead of doing it all inside the computer. For the next tour I’m probably going to use Ableton [Live] for looping and my new Monome [controller] to trigger it so there will still be the visual element.”

Despite having a decidedly hi-tech vibe, Imogen’s studio is also home to some more eccentric sound-making equipment. “There are loads of cool noise-making bits on this shelf, including a Game Boy from PixelH8 with his software on it,” she explains.

It’s all very well having an abundance of cool gear to tinker with, but does this mean that it’s easy to lose focus? “Yes, especially for this album so that’s why I knew I had to get all the actual songs written before going into my studio, otherwise I would have just ended up twiddling for hours making noises,” says Imogen. “So I got the lyrics and the melodies done before I went in the studio.”

Eschewing the plush swivel chair favored by most producers, Imogen likes to position herself on an altogether more spherical studio seat: a furry fitness ball. “This is really fun and actually improves your posture if you’re like me and spend ages doing a lot of audio editing,” she says.

Original story on Music Radar

Imogen Heap’s Amazing Home Studio is a post from: Home Recording Studio Guru

Moby’s Bedroom Studio

Big Al — Mon, 14 Mar 2011 16:00:37 +0000

Synth loving genre-straddler Moby recently released Wait For Me, his ninth studio album, and to celebrate the occasion, he invited Future Music magazine into his bedroom studio. “It’s got a great atmosphere,” says Moby. “Loads of different artists have had studios here – people like Iggy Pop, Sonic Youth, the Butthole Surfers and the Beastie Boys. I sleep in the smaller bedroom and I make music in the slightly larger bedroom.”

Moby’s had someone in to give the room some acoustic treatment: “Mixing in here used to be a real nightmare,” he admits. His monitoring setup, meanwhile, comprises a pair of Genelecs and Yamaha’s trusty NS10s. “The Genelecs are fun to listen to because everything sounds fantastic on them,” notes Moby, while supporting the consensus that “The NS10s sound crappy, but if you get it working on them, you know you’re doing something right”.

An enviable collection of synths can be found in Moby’s facility, and he managed to pick up some of his more lust-worthy analog models for less than you might expect. “I started collecting this stuff when nobody wanted it. There was that period between about 1984 and 1990 when everyone wanted digital synths. I think I paid $100 for the Juno-106. The Jupiter 6 cost me virtually nothing. How can you not appreciate these machines?”

Take a close look at this picture and you’ll see that Moby runs a Power Mac G5 and Pro Tools HD setup for recording purposes. “With Pro Tools you get instant results, you can record as many parts as you want and you never have to dig out a screwdriver to adjust the machine when it starts messing up,” says the star.

Although he’s a big fan of synths, drum machines and other electronic gear, Moby still likes his ‘real’ instruments, which explains the presence of the guitar and bass in his studio. “[Wait For Me] started out with piano and guitar – just me sitting around and playing a tune or some chords.”

He may be a Pro Tools fan, but Moby still has plenty of outboard gear around the place. “Using all the old gear does mean you spend a lot more time messing around, because each reverb or compressor will only work on two or three pieces of music,” he notes. “Onboard compression works on everything, but it all sounds the same. The sounds you get from the analogue stuff make it worth the extra effort.”

Moby admits that he now regrets allowing so many tracks from his Play album to be used in ads, and won’t be going down that road again. “Unfortunately, once you make a bargain with the Devil, you can get caught out. I did and I got crucified, and rightly so. Things are different now. I certainly won’t do that again. This new album is just for me. It’s personal.”

Read the full interview with Moby in the September issue of Future Music (FM217), on sale now.

Original story on Music Radar

Moby’s Bedroom Studio is a post from: Home Recording Studio Guru

New Gear In The Studio: Behringer Edison EX1

Big Al — Sat, 12 Mar 2011 22:47:06 +0000

Is there anything better than getting a new piece of gear in the studio? Well, okay, getting a new piece of gear that was also FREE would be at the top of the list.

This week I picked up a Behringer Edison EX1 stereo processor. It’s new to me, but I picked up a used one as they are no longer in production.

Behringer Edison EX1 (Click for larger picture)

I first heard of this unit when Dave Pensado mentioned it in an interview. He recently referred to it again in a recent episode of Pensado’s Place, his video podcast. He mentioned the usual biases against Behringer, but noted that this unit was made long before they became the company they are today and is one of his favorite stereo field processors.

I accidentally found one at a local Guitar Center, where it was on consignment for a measly $69. I couldn’t resist! I decided it was time to see what the hoopla was all about. Also, I didn’t mind the opportunity to get some out-of-the-box circuitry involved in my setup. I wanted to compare it to the usual stereo processing I use, which is a plugin called DUY Wide.

First of all, this thing is built like a tank and the one I got is in really great shape. How does it sound? In a word, great. It has a different character than DUY Wide, a very pleasant one, as well as more control over each stereo dimension. You could probably come close with some M/S mixing tricks, but it’s hard to beat the simplicity of some knob turning and listening. Also, it’s important to note that it collapses into mono gracefully.

If you can find one for under a hundred bucks I would highly recommended adding this to your setup for some fun experimenting.

Here’s some background on the unit that was featured in Sound On Sound magazine:

Behringer has created quite a name for themselves by producing well-engineered, sensibly-priced products, and though the majority of them are derived from concepts pioneered by other manufacturers, they still represent very good value. The idea of stereo enhancement is almost as old as stereo itself, but Behringer have added a nice touch by including a phase meter in the package.

The principle upon which the Edison works is said to be based on a supposedly ‘secret recipe’ used in American studios, and whilst the manual offers no clue as to what this might be, a quick call to Behringer provided the answer (see the ‘How it Works’ panel elsewhere in this article). As with most similar units, the idea is to make the stereo image appear to be wider than it would normally be, but in the case of the Edison, you can also control whatever sound is centre stage, by bringing it forward or pushing it back in the mix.

Stereo enhancement systems can sometimes cause phase problems, and though Behringer claim that the Edison produces no such effects, a phase meter is included, presumably to confirm that they’re not telling porkies. In Bypass mode, the phase meter may be used on its own, rather than in combination with the stereo enhancement system. Reed relays are fitted — a nice professional touch for a piece of equipment at this price — providing a hard bypass, which also operates as a failsafe in the event of a power failure. The relays delay the connection of the audio path until the power supply has settled down, which also helps avoid thumps when you switch on.

As standard, the Edison comes with balanced inputs and outputs on stereo jacks, but if a mono jack is connected, the unit will run unbalanced with no loss of level. Transformer-balanced outputs are available as an option. Power is provided via a captive mains lead, and there are no connections on the rear panel other than the pairs of input and output signal jacks.

CONTROLS

The front panel is also reassuringly simple, with only five knobs, a Bypass button, and a power switch to worry about. Stereo Spread is the first control, and is used to set the width of the stereo image, which may be varied from mono to something that sounds wider than the speakers. In the centre position, the sound is unaffected.

LMF Spread also affects the stereo width, but only works on bass and low mid-range sounds. The manual suggests that it should be used sparingly, and that it is provided to compensate for the fact that low-frequency sounds are difficult to localize. I must confess that I found the effect of this control very subtle.

The Balance control works as a left/right pan pot for any mono components in the sound, which, in the case of most mixes, means the vocals, bass and kick drum. There’s also a Centre Distance control, which allows the mono component of the sound to be pushed forwards or backwards in the mix, and appears to provide basic level control over the centre signal.

Finally, there is Output Gain, which is used to compensate for any level changes caused by the processing. If you don’t match the input and output levels fairly carefully, you invariably end up thinking the loudest signal sounds best. The Bypass switch has a red status LED, which comes on when Edison is active.

The phase meter comprises a horizontal bar graph meter with a green, yellow and red display. The green left-hand side indicates good mono compatibility, while yellow, in the centre, indicates a 90-degree phase shift, showing that the left and right signals are largely unrelated. On the right, the red section shows that the phase shifts are high (180 degrees when all the red LEDs are on), and that the left channel is out of phase with the right. Most properly-mixed recordings will read somewhere in the green region, but if the meter consistently reads higher than this, you should check for mono compatibility problems.

SOUNDS OF THE GHETTO (BLASTER)

The Edison creates its most dramatic effects with the stereo width cranked to full, and the centre signal pulled back slightly in the mix. This produces the impression of a curved soundfield, where the soundstage wraps around in front of the listener, though it must be remembered that pushing the centre sound back also changes the overall balance.

The effect definitely works, but having said that, I decided to compare it with the usual DIY stereo width enhancement approach, where you use two extra mixer channels and their phase invert switches to feed some of the left-hand channel signal, out of phase, into the right-hand signal path and vice versa. This is the same dodge used in cheap ghetto blasters to produce a wider stereo image from two speakers placed close together, but it can also produce dramatic effects in the studio. To be quite honest, although the Edison is more controllable, and does allow you to pan the centre (mono) component of the sound independently, the effect isn’t that much different.

TRICKS AND TREATMENTS

Stereo width enhancement isn’t at the top of everyone’s ‘must have’ list, and if you haven’t yet bought a good reverb or compressor, then perhaps you should consider getting these first. On the other hand, if you have all the standard toys already, stereo width enhancement might seem like an attractive addition. Not only can you treat entire stereo mixes, but you can work more subtly, treating only part of a mix via the subgroup insert points.

For example, you might want to widen just some percussion or backing vocals, but leave the rest of the mix as normal. Another useful trick is to process the stereo effects returns, so that the reverbs or echoes are as wide as possible, creating a useful degree of contrast within a mix.

However, if I compare the Edison’s stereo enhancement with the Wide button on a ghetto blaster or stereo TV, I’m still not entirely convinced that it isn’t a case of the emperor’s new clothes. The Edison does widen the stereo image to the point where you can close your eyes and imagine the speakers are further apart than they really are, but it can’t perform RSS-type tricks, where you can position a sound right out to one side, or even behind you. Edison does, however, offer the genuine benefit of an on-board phase meter, which can be used to pinpoint all sorts of mix problems, including accidental phase reversal, or poor mono compatibility.

SUMMARY

In short, for those who do want an instant stereo enhancement effect, rather than having to create their own from scratch, or for those whose mixers don’t have phase switches, the Edison provides an accessible and affordable means of stereo width control, in a very attractive, easy-to-use package. And if you also feel a phase meter might be useful to you, then Edison is probably worth the asking price for that feature alone.

HOW IT WORKS

We contacted Ulrich Behringer to ask him if he might describe how the Edison works. He gave the following explanation:

“The technical principle behind the Edison is not the normal means of stereo width enhancement, i.e. using mixers and phase cancellation. The Edison is based on a principle first used in a product called the B.A.S.E. from Bedinin, which costs about $4000.

“First of all, we create a mono signal (L+R) and the stereo part of the original signal (L-R). We then start to process these signals. In order to achieve greater ambience reception, we use a program-dependent delay on the stereo part and a low-mid frequency filter as well, which allows boosting or cutting of those frequencies which are normally hard to perceive as being in stereo (i.e. low-mid frequencies).

“For the mono part, we allow the user to shift the mono content from left to right in order to correct, say, a mixdown error, where, for example, the singer might not be in the middle of the stereo image. The singer may also be shifted closer or further away with the Center Distance control.

“Our customers (e.g. Hit Factory in New York), found this unit very useful in controlling their final mixes. Together with the phase meter, they find it a superior and extremely cost-effective unit. We feel it is particularly good value as a phase meter normally costs three times the price of the whole Edison, which may go some way towards explaining why the Edison is one of the best-selling products in our range.”

PHASE METERS — WHAT ARE THEY GOOD FOR?

It’s a good idea to check any recording on a phase meter, especially if it is destined for vinyl release, as large phase differences between the left and right channels, particularly at low frequencies, can make a record very difficult to cut. Phase errors also affect the mono compatibility of a recording, and this is important regardless of the release medium, simply because many people still listen to the radio and TV in mono.

New Gear In The Studio: Behringer Edison EX1 is a post from: Home Recording Studio Guru

Apogee Announces ‘Mike iOS’ Microphone For iPad, iPhone & Mac

Big Al — Fri, 11 Mar 2011 19:09:20 +0000

Apogee Electronics has announced the release of Mike, a compact studio quality USB microphone available for iPad, iPhone and Mac.

Standing roughly as tall as an iPhone, Mike by Apogee is a portable, easy-to-use and powerful microphone for use with GarageBand on your favorite iOS devices. With the unique flexibility to also plug Mike into your Mac, the possibilities of recording are endless.

“Since the success of the built-in microphone in ONE, we have been looking forward to creating a great sounding mic for the iPad,” says Betty Bennett, CEO and Co-founder of Apogee Electronics.

“Now with Mike, GarageBand and an iPad, customers can record vocals and acoustic instruments with their iOS devices anytime, anywhere, and sound fantastic.”

Mike Features:

PureDIGITAL technology delivers pristine sound quality
Designed to record vocals and acoustic musical instruments
Great for voice overs, interviews and podcast recordings
No configuration, just plug in and record
Easily adjust input levels without accessing software
Multicolor LED for status indication and input level monitoring
Made for GarageBand on iPad and Mac
Includes desktop stand and mic clip
Size: 4.5” tall

Release date and price to be announced soon.

Apogee Announces ‘Mike iOS’ Microphone For iPad, iPhone & Mac is a post from: Home Recording Studio Guru

FET Compressor Plugin From Softube – Features And Tutorial

Big Al — Tue, 25 Jan 2011 17:27:51 +0000

This is a great little video showcasing the Softube FET Compressor, which also contains some great tips on using compression in your mix. (Video by Mix Sensei)

Using a screen reader? Click here for the video

Click Here to Learn More
or Purchase the Softube FET Compressor

FET Compressor Plugin From Softube – Features And Tutorial is a post from: Home Recording Studio Guru

Kazrog’s Recabinet 3 Coming January 18

Big Al — Sun, 16 Jan 2011 05:38:19 +0000

Kazrog has announced the impending release of Recabinet 3 on January 18, 2011, a significant update to the popular guitar and bass speaker cabinet simulator for Mac and PC.

Recabinet 3 is an effects plugin for VST, AU, and RTAS formats for Mac OS X and Windows. It offers 20 virtual cabinets, 8 virtual mics, and 2 internal channels with the British-inspired Kazrog Konsole EQ, specifically voiced for making guitar and bass tracks come alive.

In 2008, Recabinet 1.0 began its life as speaker cabinet impulse responses. Recabinet 2.0 was released in 2009 and added significantly more cabinets and microphones to the library.

In 2011, with the introduction of Recabinet 3, Kazrog has redefined their product with the first cross-platform effects plugin dedicated solely to speaker cabinet simulation. Recabinet 3 makes it fast and easy to find new sounds, avoiding the hassle of complex mixer routing and folder navigation associated with impulse response libraries. Recabinet 3 also ships with ready-to-rock factory presets designed by popular artists and producers.

Using a screen reader? Click here for the video.

Recabinet 3 Details

Cabinets:

1960 – based on a Marshall 1960AV 4×12
Angora – based on a Line 6 Vetta 4×12
Blackface 4×10 – based on a Fender ’65 Super Reverb 4×10
Chordal – based on a Roland JC120
Damien – based on a Marshall 1936 2×12
Dazed – based on a Supro Thunderbolt
Eagle – based on an ENGL Pro 4×12
Excel – based on a Randall RS412XLT100 4×12
Genzie – based on a Genz Benz G-Flex ported 2×12
Green – based on an original 1970s Marshall 4×12
Igor – based on a Krank Krankenstein 4×12
Manatee – based on an Ampeg SVT 8×10
Motown – based on an Ampeg Portaflex B15N
Ogre – based on a Bogner Uberkab 4×12
Oversize – based on a Mesa Standard 4×12
Sterling – based on a Marshall Hand Wired 4×12 (late 1960s reissue)
Tangerine – based on an Orange 4×12
Top Boost – based on a Vox AC30
Tweed 1×12 – based on a Fender ’53 Deluxe 1×12
Zodiac 2×12 – based on a Selmer Zodiac Twin 30

Microphones:

57 – based on a Shure SM57
545 – based on a Shure Unidyne III 545
121 – based on a Royer 121
409 – based on a Sennheiser MD409
421 – based on a Sennheiser MD421
i5 – based on an Audix i5
Reference – based on an Earthworks M30
U87 – based on a Neumann U87

Compatibility

Mac OS X – VST, AU, and RTAS formats
Windows – VST and RTAS formats

Pricing and Availability

Recabinet 3 will be released on January 18, 2011 and will be available directly from http://recabinet.com. It is not sold in stores.

New users can purchase Recabinet 3 for $129.99
Users who purchased Recabinet on October 23, 2009 or later can upgrade to Recabinet 3 for $59.99
Users who purchased Recabinet between November 1, 2008 and October 22, 2009 are eligible for a FREE upgrade to Recabinet 3 by logging in to the members’ area between January 18 and January 26, 2011 and claiming their free upgrade. Past the grace period, they are entitled to discounted upgrade pricing.

Kazrog’s Recabinet 3 Coming January 18 is a post from: Home Recording Studio Guru

Universal Audio Announces UAD-2 External Firewire Units!

Big Al — Thu, 13 Jan 2011 08:33:21 +0000

YEAH BABY! I was wondering when this would happen. The official press release with specs and detail is right after the picture below.

Universal Audio UAD2 Satellite Duo and Quad FIrewire DSP Accelerators

UNIVERSAL AUDIO UNVEILS UAD-2 SATELLITE DUO AND QUAD FIREWIRE DSP ACCELERATORS

UA’s First-Ever Firewire 800/400 DSP Accelerators Provide Plug-and-Play Access to Award-Winning UAD Powered Plug-Ins on Wide Range of Mac Computers

NAMM SHOW NEWS – ANAHEIM, CALIF. January 13, 2011 – Universal Audio (UA), a leading manufacturer of professional audio recording products, today announced the impending release of UAD-2 Satellite DUO and QUAD Firewire DSP Accelerator Packages. As the newest members of UA’s award-winning UAD-2 Powered Plug-Ins platform, the UAD-2 Satellite family combines DSP acceleration with the plug-and-play simplicity of Firewire 800/400 – perfect for modern, Intel-based iMacs and MacBook Pros.

The UAD-2 Satellite puts the entire UAD Powered Plug-Ins library within easy reach of Firewire 800 and 400-equipped computers; no PCIe card installation required. In developing these UAD plug-ins, UA’s DSP engineers work with leading hardware manufacturers – including Roland, Neve, Studer, dbx, Solid State Logic, Lexicon, Manley, Empirical Labs, Trident, SPL, EMT and more – using their exact schematics, golden units, and experienced ears. This gives computer-based musicians and engineers the warmth and harmonics of classic analog recordings, wherever they mix.

Available in DUO or QUAD processor format (with either two or four Analog Devices SHARC processors, respectively), UAD-2 Satellite packages provide a processing “boost” for digital audio workstations, and include a selection of classic analog emulation plug-ins, right out of the box.

“This is a really exciting announcement, both for UA as a company, and for legions of musicians and engineers wanting to tap into UAD-2 plug-ins via Firewire,” commented Universal Audio President Matt Ward. “The UAD-2 Satellite is a sleek, high-quality product that delivers even higher quality results.”

“UAD-2 Satellite is the result of UA listening to our customers, and giving them a processing solution that is both elegant and powerful,” added UA Senior Product Manager Lev Perrey. “Coupled with our roadmap of exciting new plug-ins, we anticipate this product expanding our 40,000-strong UAD user base significantly in the years to come.”

Notable UAD-2 Satellite features include:

Access the UAD Powered Plug-Ins library on select Firewire 800 and 400 equipped computers
Compatible with a wide range of modern Intel-based iMacs and MacBook Pros
Run larger mixes in Pro Tools, Logic, Cubase, Nuendo, Performer and more – without taxing host computer CPU
5 models to choose from: DUO (Core); DUO Flexi (w/ $500 Plug-In Voucher); QUAD (Core), QUAD Flexi (w/ $500 Plug-In Voucher), and QUAD Omni v.5.7 (w/ 50 UAD plug-ins)

The complete line of UAD-2 Satellite DSP Accelerators is slated for a Q1 2011 release with prices starting at $899 MAPP USD.

For the latest release information on the UAD-2 Satellite, visit UA’s website: http://www.uaudio.com

About Universal Audio Inc.

Founded in 1999 by Bill Putnam Jr. and based in Scotts Valley, California, Universal Audio is best known for its vintage analog reproductions and advanced Digital Signal Processing technology, including the award-winning UAD Powered Plug-Ins Platform. The company is focused on merging the best of classic analog and modern digital technology. UA is devoted to this endeavor, following its rich recording heritage and motto, “Analog Ears. Digital Minds.”

Universal Audio Announces UAD-2 External Firewire Units! is a post from: Home Recording Studio Guru

Carl Martin PlexiTone Demo By Pete Thorn

Big Al — Sat, 01 Jan 2011 20:46:16 +0000

This pedal sounds really nice to me. Looking forward to comments from users, so bring it on!

Using a screen reader? Click here for the video

See more about the Carl Martin PlexiTone by clicking here…

Manufacturer’s Description for Carl Martin PlexiTone Distortion Pedal

An unusually high gain three step rocket of an overdrive, Carl Martin’s PlexiTone offers a two step overdrive easily foot-switchable between Crunch and High Gain channels. An additional Boost function adds up to 20dB of crystal clean boost to your output.

Features:

Three levels of Boost, Gain and Distortion
Crunch channel offers subtle overdrive to hard rock gain
High Gain channel offers rock gain stages to crushing modern distortion
High quality components provide insane ‘headroom’ for unmatched clarity
Built-in Regulated (+/-12v) power supply

The crunch channel goes from subtle overdrive to hard rock gain stage, the high gain channel goes from rock gain stages to absolutely meltdown, with loads of gain and low end, and all in a tone that brings the memory back to the early 80′s high gain guitar hero’s.

See more about the Carl Martin PlexiTone by clicking here…

Carl Martin PlexiTone Demo By Pete Thorn is a post from: Home Recording Studio Guru

McDSP Analog Channel – Analog-Style Saturation On The Mix Bus

Pro Tools 9 Announced At AES in San Francisco!

Big Al — Fri, 05 Nov 2010 01:06:53 +0000

Today, the Pro Tools users wish lists have been all but fulfilled with the release of Pro Tools 9. Retail price is $599. There’s an upgrade for all LE owners for $249. Here’s the lowdown from Avid.

The Next Generation of Pro Audio Production

Open yourself to the possibilities. Pro Tools 9 redefines the world’s most popular, most advanced music and audio production platform with a completely re-architected, open version of Pro Tools software, giving you what you asked for—and so much more.

Work with an audio interface—or without. Create bigger, better-sounding mixes with more tracks, Automatic Delay Compensation, and other pro features included as standard. Open your workflow to projects created in other audio and video software—and to the entire Avid Artist Series and Pro Series (formerly Euphonix) console/controller line. With Pro Tools 9, you can compose, record, sequence, edit, and mix the way you want—in more ways than ever.

What’s New?

	Work the way you want Get the flexibility of using Pro Tools 9 with your favorite Avid audio interface or third-party Core Audio- or ASIO-compatible interface—or use Pro Tools 9 completely standalone for easy on-the-go creation.

	Create bigger, better mixes Develop larger, more complex projects, with up to 96 or 192* simultaneous audio tracks, 128 instrument tracks, 512 MIDI tracks, 256 internal busses, and 160 aux tracks.

	Be more creative with coveted professional tools Work efficiently and get the best sonic results with Automatic Delay Compensation, multitrack Beat Detective, full Import Session Data dialog, DigiBase Pro, and other separately priced add-ons—now standard.

	Collaborate with others more easily Team up with other creators, editors, and mixers easily—with built-in OMF/AAF/MXF file interchange support, you can exchange projects created in other audio and video software with Pro Tools and vice-versa.

	Get more options to grab hold of your mix Along with C\|24 and ICON*, you can now use Avid Artist Series and Pro Series consoles and controllers to enhance your editing and mixing workflow, thanks to added EUCON integration.

	Work with picture in more ways Expand your post production capabilities with powerful features now included as standard, such as the Time Code Ruler, OMF/AAF/MXF interchange, variable stereo pan depths, and updated 7.1 surround panner*.

	Boost your power with Complete Production Toolkit 2 Get the Pro Tools HD software feature set**—without a Pro Tools\|HD or Pro Tools\|HD Native system—with the Complete Production Toolkit 2 option.

Learn More

* Feature/spec only available in Pro Tools HD 9 software and Pro Tools 9 software with the added Complete Production Toolkit 2 option (compare Pro Tools software features).

** Some limitations apply (compare features).

NOTE: Pro Tools HD 9 software is available only as an upgrade or as part of a new Pro Tools|HD or Pro Tools|HD Native core system purchase, but can also be used as standalone software.

Pro Tools 9 Announced At AES in San Francisco! is a post from: Home Recording Studio Guru

Softube Launches TSAR-1 Reverb Plugin

Big Al — Tue, 26 Oct 2010 09:18:38 +0000

Just got this press release from Softube. I love these kind of reverbs. I’ve already downloaded the demo; can’t wait to see what the CPU load is like, and of course, what it sounds like.

Why don’t you do the same and give me your feedback?

Softube is shipping the TSAR-1 Reverb for native (VST/AU/RTAS) platforms. TSAR-1 Reverb is available today at the Softube web shop and at authorized Softube dealers at a price of $329, excl. VAT.

The TSAR-1 Reverb is not an emulation. It’s not a stock design. It’s not a static snapshot of a space. The TSAR-1 is a powerful, modern reverb algorithm. It’s alive and vibrant, it’s gentle and dreamy, and above all – it’s natural and believable. The TSAR-1 is the better-sounding alternative to the established, traditional reverb products. At a fraction of the price.

The True Stereo Algorithm inside the TSAR-1 is what gives it its magic. The strength lies in its sophisticated sound and versatility, no matter whether it’s used on strings and brass or rock drums and lead vocals, it always shines. All this while still having a comprehensive and easy-to-use interface that is unparallelled in other high-end reverb products.

With the TSAR-1 Reverb, Softube establishes itself not only as an industry leader in simulation technology but now also as a leader in novel algorithms. Like all Softube products, the TSAR-1 benefits from Softube’s commitment to excellent quality, stellar performance and extraordinary customer support.

TSAR-1 Reverb is available from Softube’s new More Is More Webstore.

A fully functional 20 day demo can be downloaded from http://www.softube.com.

Softube Launches TSAR-1 Reverb Plugin is a post from: Home Recording Studio Guru