IGS Audiois a Poland based company known for making great gear just announced their brand new 500 series S-Type Buss Compressor. I'm going to see if I can get my hands on one of these units and put it to use on this project I'm currently mixing. I like the fact that all the controls are stepped which makes it very easy to do a precise recall if needed.
Features:
Stereo compressor, Double space unit, All stepped manipulators (exc. Mix), London/New York modes, Sidechain HPF, 20 points GR LED bar, Low power consumption, Affordable price, 495 Euro, exc. VAT. (approx. $650 USD)
If you don't already have 500 series rack consider their 10 slot Panzer 500 power supply:
The website states it is fully compliant with any 500 series modules (Output current is 420mA per slot).
"Developed by Universal Audio and Allen Sides, the Ocean Way Studios plug-in rewrites the book on what’s possible with acoustic space emulation. By combining elements of room, microphone, and source modeling, Ocean Way Studios moves far beyond standard impulse response players and reverbs — giving you an authentic replication of one of the world’s most famous recording studios." The Ocean Way Studios Plugin is available with the the new v7 Software which also includes the SPL TwinTube, Sony Oxford Inflator and newly enhanced Apollo Interface software features. I've used the TwinTube and Inflator plugins and it's great to see them available on the UAD-2 platform. Here's a video review of the Ocean Way plugin by Russ of pro-tools-expert.com:
Features
Breakthrough acoustic emulations of Ocean Way Recording’s legendary Studio A and Studio B
Dynamic Room Modeling combines room, microphone, and source models for unprecedented realism
Incorporates sonic profiles of vintage microphones from Allen Side’s world-renowned collection
Includes mic bleed and mic proximity effects for stunning accuracy
Choose from eight instrument / vocal source types with unique dispersion patterns
Position and blend between three vintage mic pairs (Near / Mid / Far) in real time
Use in “Reverb” mode, mixing wet and dry signal; or “Re-Mic” mode, replacing your original room and mic sounds altogether
Preset mic selections, placements and creative direction by Ocean Way’s Allen Sides
Gobbler's Andrew Reinfeld sent me an email about their Gobblerama! contest where you can win great prizes just for referring people to Gobbler. I've been using Gobbler since it was in beta and find it a great way to backup and share files with clients.
Gobbler is offering over $10,000 in prizes from Universal Audio, Telefunken, Focusrite and others, just for inviting your friends! Throughout the month of May, Gobbler customers who get the greatest number of friends to sign up for Gobbler will win audio hardware and software prizes every week. The grand prize, a Universal Audio 1176LN Classic Limiting Amplifier, will be awarded when the contest ends, May 28th. Daily prizes from Groove3, Slate Digital, Softube, and others will also be given away randomly - just for entering!
It shows how to route audio from Protools into theHarrison MixBus application for mixing or additional processing. The MixBus is based on Harrison Consoles world renown analog consoles.
(Michael Jackson's Thriller was mixed on a Harrison byBruce Swedien. I think he still owns the console)
Propellerhead has made some major changes in their recently released Reason 7 including grouping, parallel channels and emulating the classic SSL sound with eq/dynamics on every channel and even the Stereo Buss Compressor. There's also MIDI out, a built in Spectrum analyzer and new "Audiomatic Retro Transformer"
From the website:
"Reason 7 brings tons of new improvements for the mixer, the rack and the sequencer. Integrate your instruments into Reason with MIDI out, audio slicing and audio quantize. Turn your recordings into REX loops. For mixing, we're introducing a spectrum analyzer with visual EQ, group and parallel channels and workflow improvements. To inspire, Reason 7 imports audio from your music library and web formats, the enhanced Factory Sound Bank comes fully loaded with tons of new loops and drum kits and the new Audiomatic Retro Transformer effect adds a futuristic-vintage sound to any tracks."
Here's a video showing the new mixing features:
and here's another video showing the Reason 7 improvements to "inspire" you to create your next hit:
Flux announced 64 bit versions of their Pure Analyzer System, and SampleGrabber which is now available for AAX. The new versions of Elixir Brick Wall Limiter and the free BitterSweet (transient designer style) plugins are also now 64 bit. Here's the email I received from them:
Hello Gary,
Today we release the Pure Analyzer System sp3, introducing AAX and 64-bit compatibility. The stand alone Pure Analyzer application is now 64-bit compatible on both MAC OS X and Windows, and the SampleGrabber plug-in now supports AU/VST 32/64-bit, AAX Native (32-bit only) as well as AAX DSP 64-bit (requires ProTools 11).
During the release period we offer an introduction special of the Pure Analyzer Essential and the Pure Analyzer add-on options with 30% Off from the MSRP*
* (This offer can not be combined with any other discounts or offers, Last day of availability June 1st)
Important note!!
Due to compatibility issues the Sample Grabber plugin installation has been removed from the Pure Analyzer setup file, and from now on instead is to be installed separately.
Main New Features
Essential:
RTA: Real Time waterfall; see "slide" option in spectrum setup.
Live:
SnapShot: Invert ("Iv" button) function available on Transfer Function Magnitude.
Main Enhancements
Mac OS X: The binary is now 64 bit.
Windows: 32 & 64 bit version available with independent installers.
Windows: No more Python installation needed, a python distribution is now instead included in the installer.
Auto adjust Sweep time for sweep snapshot according to the analyze time windows.
Sweep time increase up to 15 seconds.
Independent use of coherence for Magnitude and Phase curve transparency.
Freeze function with return key now working on all layout and enhanced on live layout (will hide all RT curves).
Main Fixes
Mac OS X: Fix - Installer was not installing all required files on a fresh install.
Mac OS X: Fix - Copy, cut, past in edit fields.
Mac OS X: Fix - Folder renaming.
Mac OS X: Fix - 96k only choice in I/O settings when using default sound card on MacBookPro.
Windows: Fix - Setup problems.
Windows: Fix - Security/Auth problems.
Mac OS X & Windows: Fix - Crash or freeze when switching "Pure spectrum" button in main settings.
Mac OS X & Windows: Fix - Auto Pause not working properly
Overall: Additional minor fixes.
Main changes, SampleGrabber
New - VST 64 bit version, MAC OS X & Windows.
New - AU 64 bit version, MAC OS X.
New - AAX Native 32 bit version, MAC OS X & Windows.
New - AAX DSP 64 bit version for ProTools 11, MAC OS X & Windows.
Availability
For current owners of Pure Analyzer System the upgrade is free of charge. The new versions are available for download Now on our website, as are dongle-free trial versions for testing Pure Analyzer System.
Some years ago I was introduced to the group Black Violin by my friend and fellow engineer/producer Adrian "Drop" Santalla. They asked me to mix some songs for their upcoming album and after listening to a few of their songs I immediately said yes. I've been a fan ever since.
Black Violin is a classically trained violinist duo consisting of Kevin "Kev Marcus" Sylvester and William "Will B" Baptiste. They have collaborated/played with many artists and even performed on Broadway at the new Victory Theater in Times Square last November. They were voted Top 5 Bands at SXSW and played for the President at the 2013 Presidential Inauguration,
I recently mixed some songs for their new album aptly named "Classically Trained" including the single "A Flat ":
Visit their website at http://blackviolin.net for more music and info on this amazing duo.
I use a JP8000 (pictured above) as my main keyboard/controller in the studio but I need a compact controller for my portable setup. So I started doing some research online and found this article on MusicRadar. They have a list of 8 keyboards that fit the bill. I'm familiar with some of them and they are all under $150. Click the names to read the reviews on each keyboard.
Take a look at this video that Russ Hughes of Pro-tools-expert.com posted on YouTube showing how to use AU(Audio Unit) plugins in Protools. He goes through step by step how to make it work:
Seems like PSPAudioware has released another winner to their long list of plugins with the PSP SpringBox.Perfect timing as I'm currently mixing a project that requires just this type of reverb. I will do a follow-up post where I share some of the settings I use on said project.
In the meantime here's some info from the website:
The PSP SpringBox "...recreates several features typical of a spring reverb, such as a convincing “boing” on transients and a repeatable resonating musical character with an adjustable presence. A selection of configurations from two to six springs total is provided, as well as the ability to set stereo spread and pan/balance configured to suit various mix setups - from a typical guitar reverb to a creative uses as a send reverb in the mix. Thanks to PSP SpringBox’s two channel A and B settings setup and range of presets operation is fast and easy."
PSP also posted a video showing the Springbox being used on drums:
IK MUltimedia has released new plugins for their T-Racks Custom Shop.
From their Press Release:
1. The White Channel which "..is based on the EQ and dynamics section of a channel strip from a
renowned large-format British console, and is the modern counterpart to our
acclaimed British Channel. The board became popular in the late ‘90s, was used on
many hip-hop/R&B recordings, and featured a wide bandwidth and pristine sound
quality. The White Channel offers an accurate emulation of the console circuitry,
allowing you to impart the sound of this classic large-format console on your own
mixes."
2. The Tape Echo "...based on one of the classic tape echo units of all time, the
Echoplex® EP 3. It features an amazingly accurate emulation of the sound of the
original unit, including the distinctive decrease in high-end on each successive echo,
which is typical of tape-echo units (and analog delay of all types). We also recreated
the effect on the sound of authentic tape-machine characteristics like wow and
flutter, noise and tape wear. Plus, we added some modern features that make it
functionally more flexible than the original hardware unit, including stereo operation,
separate delay times on L&R, and syncing to host tempo."
3. The Bus Compressor "...modeled after the master-bus compressor on one of the world’s most
famous mixing consoles. Featuring a VCA circuit design, it’s often referred to as the
“Glue Compressor,” for its ability to subtly “glue” a mix together. It has also been
used frequently for heavily compressing drum tracks. Our model accurately captures
the sound of the original hardware down to the behavior of the detection circuit, and
is enhanced by some added features like a "grit" control and large main knobs,
which were not on the original unit."
4. The British Channel "...modeled after one of the most widely used and
acknowledged pieces of hardware in the music history. Countless hit records have
been produced around the world on this British mixing console since the ‘80's, and
with its ultimate flexibility and trademark sound, it’s become a true staple of music
production technology. We decided to add a few further enhancements to its already
powerful design, by making the Black/Brown EQ modes selectable, adding filters and
I/O level controls to precisely drive the dynamics section from subtle compression to
true squashing, while still maintaining the razor sharp precision of the EQ and the
channel's overall sound faithful to the original. We’ve added a sleek new look to the
latest version, which makes navigating its controls even easier."
Take a look at the video:
"The new T-RackS Processors are available for purchase now in the T-RackS Custom shop, using Custom Shop gear credits, with prices ranging from 60 to 120 credits each. Gear Credit Packs start as low as $19.99 / €15.99 (for 20 credits) and go up incrementally to $499.99/€399.99 (for 1,000 credits)."
Cory Koehler latest blog post on MusicGoatshows how easy it is to get your music played on Internet Radio and collect royalties. Here's an excerpt from the post:
"The site we will be using is Live365 (get info on how Live365 pays Royalties here). They’ve been around for awhile and they host thousands of amateur, semi-pro and pro broadcasters who are in many cases looking for music to play. And if royalties wasn’t enough to convince you, you could end up on a chart somewhere because in their words… “Live365 reports weekly airplay charts in all major genres to CMJ, Radio & Records Magazine, Billboard On-Line and syndicates charts with 3rd party affiliates like Broadjam.com.” – Live365"
Cory goes on to say that he actually tried the service: "... I dusted off my Live365 account and started reaching out to DJ’s. Next thing you know, I had responses from 16 DJ’s and a wide variety of my tunes were in rotation on some pretty cool stations."
He then tells you step by step how to do it: 1. Find Stations 2. Reach Out. 3. Be Ready. 4. Follow Up.
Very Important!: Before you do anything, you need to register with Soundexchange, so someone is tracking your Royalties, and you will need to sign up for a Live365 account. Read the entire article here. If you try this or have tried it in the past please share your experiences.
The MixCubes are manufactured by Avant Electronics who also makes microphones. These speakers are extremely useful as a real world reference due to their limited frequency response and if you can get the mix sounding great on these speakers it will usually translate to most computer speakers, portable radios, MP3 players, iPods/iPhones and factory car systems. I use these speakers on every mix I do. One of the first projects on which I used the Mixcubes (the passive version) was Amy Winehouse' "Back To Black" album with producer Salaam Remi. The speakers emphasis on the midrange frequencies will let you hear any discrepancies in your mix immediately and I consider them essential for balancing vocals. I use only one speaker and monitor in mono to ensure the mix will translate to all mediums including radio and TV. Nowadays every TV is stereo capable but the broadcasts are not always in true stereo. One of the reasons these work so well for mixing is that they provide a single point source and they are pretty much flat across the entire midrange spectrum. There are no phase issues or frequency dips in the upper midrange due to the fact that there is no crossover in the signal path. As for the low end use your mains or subwoofer to check the extreme lows but make sure you can hear the kick and bass on the mixcubes.
Features
5.25" Shielded Passive Full range 8 ohm drivers
6 1/2" Cube Cabinet with multiple coats of "Retro-Cream" High Gloss lacquer finish
Precision-milled high-rigidity MDF cabinet sides & baffle for low resonance
Radiused corners & edges reduce edge diffraction for better imaging
Custom Cone is crafted using New Zealand pulp with mica fibers added for light weight & rigidity
Cloth surround made in Japan to uniform thickness tolerances
Top Plate and T-Yoke of driver are made of Sumitomo 1008 low carbon steel
The 43oz. low distortion motor structure magnets are Y- 40 GRADE (MIL-SPEC)
High-Rigidity DIE-CAST Aluminum frame with polished mounting bezel
Nickel Plated "high-end" binding posts (properly spaced for dual banana plugs) - insulated for CE compliance
Anodized aluminum milled terminal plate
1/4" soft Neoprene Pad is recessed into the cabinet base to serve as a non-skid acoustic isolator
Standard size (5/8"- 27 threading) female microphone stand mount is built into the cabinet base
The MixCubes are available in a powered version. ($239 each)
Specifications
System Type
Active (Self-powered) shielded full-range stereo pair
Frequency Response 90Hz - 17,000Hz (useful musical range)
>Driver Impedance Nominal 8 ohms
Max SPL 104db @ 1 meter = 1%THD (PINK NOISE)
Amplifier Type Class A/B
Amplifier Power 60 watts RMS@ .005% THD (1KHz)
Amp Frequency Response 22Hz-50KHz +0dB/- 3dB (90Hz-50KHz +/-0dB)
Noise S/N -113 dB
Sensitivity 0dBu (.775VRMS) input at maximum volume (+6dB) = 104dB SPL
