Wavesfactory's TrackSpacer Plugin

     TrackSpacer | VST, RTAS and AU for Mac and Windows

TrackSpacer is a new plugin from WavesFactory that helps the user create space in the mix when two sounds are fighting for the same sonic space by using multiband dynamic eq instead of compression (such as the kick and bass occupying the same frequencies.) I did a quick demo with some drum loops where there was some buildup in the lower mids and bass. With some quick tweaking I was able to fix the issue. The actual settings I used are in the pic above.

"TrackSpacer....creates space in the mix for an instrument, voice, or other audio by performing automatic, multiband equalization on a channel. In real-time it analyzes the audio frequency content in a track/bus via sidechain, and applies an intelligent 32-band EQ to subtract those frequencies from the channel/bus where TrackSpacer is inserted. In other words, it gives room or space to a certain track by reducing its frequencies on another track in real time."

Take a look at the Youtube clip below to see the TrackSpacer in use:

CONTROLS

• Ratio: With this knob you can control the amount of EQ applied from 0% to 100%
• Filters: Maybe you only want TrackSpacer to duck a certain range of frequencies and leave the other as they are, you can control that with these hi pass and low pass filters.
• Freeze: This button makes the EQ settings permament.
• Screen Display: You can see the original frequencies of the sidechain (white curve) and the EQ curve applied by TrackSpacer (green curve) in real time.

SYSTEM REQUIREMENTS

• Mac (OSX 10.4 and later)
• Windows (XP, Vista, 7)
• VST, AudioUnit, 32bits and 64 bits, RTAS (protools 10.7 and later)
• DAW with sidechain functionality.

Cost: €39 Euros (approx. 49.60 USD)

Download the demo and purchase the TrackSpacer at http://plugins.wavesfactory.com

I want to audition the PSI A21-M Studio Monitors

I've been hearing a lot of good things about the A21-M Studio Monitors from Swiss company PSI Audio. I hope to get a demo pair from their US dealer SimpliFi Audio so I can audition them for a week or two. I've been warned that once I hear the A21-Ms I'll probably want to keep them. They're not cheap ($2895 each) but are said to be worth every penny.

Here's an excerpt from Hugh Robjohns review in Sound On Sound:
"....these speakers provide real detail and superb resolution across the bandwidth, and do so without any sense of fatigue even after hours of critical listening. The top end is gloriously smooth and natural, yet wonderfully revealing and precise. The mid range enjoys negligible levels of the harmonic distortion that so often masks the mid‑range clarity in inferior designs. Indeed, the mids come across as totally uncoloured, and both monitors passed my very critical spoken‑voice tests with ease, delivering complete naturalness and accurate spectral balances without any hint of boominess, boxiness or sibilance. Moving down to the bottom end, the bass control — the ability to stop and start bass notes and separate bass guitars from kick drums — was remarkable, delivering a performance more associated with sealed‑cabinet designs rather than ported construction. Bass extension was also impressive...."

Here's some more info on the A21-M taken from PSI Audio's website:

"The A21-M high power near / mid-field precision monitor covers a broad frequency spectrum, allowing the user to be in full control of their audio production. Its unique and highly optimised assets make it perfect for near, mid-field and surround sound applications where ultimate precision is required.The powerful bi-amplified output stages features the unique “AOI” output stages and has a protection circuit, which can be monitored via the red LED on the front panel.
The active crossover, with integrated “CPR”, gives the A21-M unprecedented impulse behavior – with excellent stereo imaging. The crossover is also optimized for maximum phase coherence, projecting a wide horizontal and vertical ideal listening area."

The A21-M features and specs are listed below:

FEATURES:

• Very high SPL in a compact cabinet.
• Flat frequency response.
• Optimised directivity by phase coherency.
• Compatible with industry standard mouting systems.
• Amplifier unit acoustically uncoupled from speaker cabinet.
• Protection circuits with overload indicator.
• Real balanced input.
• Designed for stereo and multichannel monitoring.
• Magnetically shielded for use close to video monitors.
• AOI Technology.
• ALG Technology.
• CPR Technology.
• PSC Technology.

SPECIFICATIONS:

Power RMS: 

120 + 50W

Program Power: 

170W

Input Impedance: 

Sym, 10k Ohms

Sensivity for 100 dB @ 1m: 

0.775 V

Signal to Noise Ratio: 

-96 dBA

Continuous Max SPL@1m: 

108 dB (single)

Input Overload: 

24 Vpp

Program Max SPL@1m: 

119 dB (pair)

Response at -6dB: 

38 - 23000 Hz

Tolerances: 

±2 dB (44Hz - 20kHz)

Distortion THD: 

< 1.4% (90Hz-12kHz)

Phase tolerances: 

±45° (190Hz - 20kHz)

Dispersion (P.N. 4 - 16 kHz) at -6 dB: 

90° x 90° (H x V)

System: 

2 Way(s)

Crossover frequency: 

2.4 kHz

Woofer's dim. Ext. / Diaphragm: 

Ø217 mm / Ø170 mm

Tweeter's dim. Ext. / Diaphragm: 

Ø100 mm / Ø25 mm

Connectors: 

1 x XLR F / 3P

Signal input: 

1=GND, 2=(+), 3=(-)

Material: 

MDF

Dimensions W x H x D mm: 

250 x 400 x 300

Gross / Net Weight: 

14.8 / 13.4 kg

Voltage: 

115/230V (50-60Hz)

Consumption Standby-Quiescent-Max: 

1.2 - 5 - 150 W

Mean / Max Humidity: 

< 75% / < 90%

External Temperature: 

5 - 40°C

The Roots - Tree Audio's 8 Channel/2 Buss Tube Hybrid Console

I like the retro look of Tree Audio's-The Roots console and hope I can demo it soon. It received rave reviews at the recent AES Convention. I can see using it to record live instruments such as drums, bass, guitars and even synths. I'm also curious to see how well the built-in Mic Pres handle vocal recordings.

I wonder how well it would handle summing for my DAW? If it sounds anything like how it looks I don't think I will be disappointed. Plus it has 4 available slots for 500 series modules built right into the Master section.

 Take a look at the pic of a single channel module below:

Note the built in Limiter with selectable 250hz HPF filter and the channel's meter can be set to read input level, output or gain reduction. (Hmmm... I wonder how drums would sound with the limiter pot turned to say....3 o'clock?). Some may be put off by the non-variable equalizer frequencies and level controls but if you've ever used a Neve 1073 or Pultec EQP-1A you know that units with fixed frequency points can actually be quite musical in nature and are usually more appropriate for broad strokes than sonic surgery.

Take a look at the back panel:

BACK PANEL

Notice the multitude of connectors available including those for your 500 series modules(upper left). There are also connectors for 2 pairs of speakers and 2 stereo Aux returns that go straight to the stereo buss. 

Here's a list of "The Roots" features:

FEATURES:

• All tube EQ and limiter on each channel
• 4 slots for 500 Series modules
• Vacuum tube regulated supply for all tube input modules

INPUT MODULE FEATURES (FROM TOP TO BOTTOM)

• Meter
• Meter select (input, gain reduction, output)
• Pan
• Stereo buss switch (removes signal from stereo buss for direct out)
• Aux send 1
• Aux send 2
• Pre, off, post switch
• Lo Freq EQ - 50 Hz, 80 Hz, 100 Hz ,400 Hz
• Hi Freq EQ - 7K, 10K, 12K, 16K
• Gain reduction pot (limiter)
• Limiter switch (out, in , HPF) 250 HZ 12DB per octave
• Line, mic, mic reverse phase
• Pad switch (off, -10, -20)
• Mute, on , solo
• Big knob level pot

METER BRIDGE

• Buss Master 1 & 2
• Aux master 1 & 2
• Talkback mic XLR
• Talkback level
• External Aux in 1 (mute, on, solo)
• External Aux in 2 (mute, on, solo)
• Monitor
• Source Select
• Speaker Select
• Big knob monitor level

REAR PANEL

• Mic in, line in, direct out
• Phantom power switch (all modules and talkback mic)
• Master section ins and outs
• Control room monitor outputs
• If used as a direct out with no bussing, all pure transformers and tubes
• When use thru the bussing, Inward Connections SP690 alldiscrete blocks

The Roots console is available in 8 or 16 Channel configurations.

For more info and any questions on pricing and availability visit Tree Audio's website.

Soundtoys donating 100% of todays sales to Storm Relief

On Monday November 5th 2012, SoundToys will donate one hundred percent of its online sales to help the storm victims of New York and New Jersey. As former residents of New Jersey, and with a great number of friends in both New York and New Jersey, as well as the large music community affected, SoundToys feels a deep responsibility to assist as much as possible. If you were considering a SoundToys purchase, we hope you will choose to make it on Monday Nov 5th, and help us help those in need. All proceeds will be donated to Team Rubicon,  a rapid relief organization already working in both areas to aid the needy. The organization employs skilled veterans to assist in all areas of relief and aid. More info below.

“It's hard to watch the people of New Jersey and New York, the communities we grew up in, the seaside towns we played in, and the city we love, suffer so badly. We feel that it's the least we can do – to give one day of our work to help with this monumental relief effort." said Ken Bogdanowicz, CEO of SoundToys.

Tragedies like these require everyone to come together to help, so SoundToys ask our customers and friends to help. Simply place your order for any SoundToys product or upgrade on the SoundToys web site, www.soundtoys.com, on Monday Nov 5th, and the combined total of sales for the entire day will be donated to help the victims of this tragic storm.

We also ask, if you don’t happen to need any more plug-ins, please consider making a direct donation to Team Rubicon using the SoundToys Storm Relief Page.

Here's more info on the effort from Team Rubicon:
Team Rubicon, a veteran service organization that re-purposes the ready-made organizational and operational skills of military veterans for disaster relief has mobilized 1,000 veteran volunteers to lead Superstorm Sandy relief efforts for post disaster damage assessments, debris management, flood recovery operations, and emergency coordination support to local governments.

By re-purposing the skills (teamwork, decisive leadership, risk mitigation and management, logistics,emergency medicine) of returning military veterans, the Team Rubicon model is one that addresses two challenges by using them to solve each other - disaster response and veteran reintegration. Veterans are an untapped resource, and have the skills and experiences necessary to be effective in disaster response.

A sincere thanks to all who can assist, in any way, at any level.

The SoundToys Team

Kush Audio's Electra Equalizer and Clariphonic DSP

Gregory Scott of Kush Audio seems to come up to with those (thinking out of the box) products that work well and lead you to say I wish I had this 10 years ago. The Electra (short for Electified Transient Equalizer) is another one of those pieces that even if you're not sure how it works you know that it adds that magical texture that you seek. I definitely want to demo this product and I'm quite sure I wont be disappointed. It's offered in a single channel 500 series ($599) and the dual channel 19" rack style will be available soon.

"The Electra, or Electrified Transient Equalizer, is a 4-band, multi-topology eq designed to precisely and musically redefine how the transients and harmonic energy of a sound interrelate, opening up completely new creative possibilities for how sounds interlock, move air, and impact the emotions. The tone of this box is quite literally electric, with a crackling but incredibly smooth and detailed midrange, tightly defined low end, and unmistakably analog high frequencies.

The heart of the Electra is two fully sweepable Proportional-Q bands tailored to allow for extreme pushes without sounding stressed or unnatural. The more you boost or cut, the narrower these filters get, which makes them gentle at low gain and powerful at high gain. Their adaptively musical shape allows you to add a tight 'thwack' to snares, brighten a vocal without sacrificing warmth, or even completely rebalance the elements within a drum loop as if you had faders for the various elements.

Rounding out the bottom is a fixed low shelf which pairs beautifully with the the continuously variable (25-400Hz) 12db/octave HPF. The HPF has just a touch of bite on the corner which makes it rewarding to clean up the mud; the shelf and HPF combined allow you to reshape, de-clutter, and tighten up even the most unruly low end.

Topping it all off is a sparkling, fully sweepable (3.4-20k) high shelf reminiscent of the coveted vintage mastering EQ’s of yore; it'll give life to the darkest, murkiest sound, and adds a smooth top end that plugins simply cannot replicate. Ribbons, overheads, vocals... anything that needs shimmer will love the treatment this filter gives.

The Electra is analog at its finest, and represents Kush's ongoing commitment to pushing the envelope and creating processors that fuel the creative and artistic aspects of mix engineering and music production."

SPECIFICATIONS:

• 500 Series: Single Channel Eq

• 19" Rack: Dual Channel Eq

• 4 bands per channel + Hi Pass Filter

• Hi Shelf: Sweepable 3.8kHz - 20kHz

• Hi Mid: Proportional Q, Sweepable 250Hz - 5.4kHz

• Lo Mid: Proportional Q, Sweepable 30Hz - 730Hz

• Lo Shelf: Fixed 90Hz

• Hi Pass: 12dB/Octave Butterworth

• Class A amplifiers

• DC Coupled signal path

• 500 series: "Fader Mode", converts Low Shelf to Fader for channel strip operation






Kush Audio (whose UBK-1 I use a great deal) also announced the Clariphonic DSP plugin. It is the software version of their Clariphonic Parallel Equalizer hardware. It will be available on Nov. 9th for $149.

Here's a quick video of the hardware in use:

"The Clariphonic DSP, like its analog cousin, blends custom-tuned, silky smooth high frequency filters with the full range audio to lift open the midrange and top end with an effortlessness that is unrivalled by any other device in existence. It’s effectiveness is matched only by its elegant simplicity, with toggles to select the filters and a knob to turn them in one direction: up.

With two high-shelves running in parallel on each channel, and your choice of 6 unusual and carefully selected corner frequencies covering everything from the mids to the supersonics, there is no limit to the types of sweet high end the Clariphonic can produce. The internal parallel signal paths produce a form of additive-only high frequency equalization that is at once holographic, transparent, and virtually phaseless. You get effortless, natural high end for days.

Bottom line: every frequency sounds amazing, and expensive. Drums, vocals, acoustic guitars, entire mixes... almost any sound can be made more present, more detailed, and more alive with this remarkably creative, forward-thinking equalizer."

SPECIFICATIONS:

• Mono/Stereo High Frequency Equalizer Plugin

• Two shelving bands

• Six unique corner frequencies from 800hz to 39k

• Parallel signal paths for each band

• Incredible clarity, minimal distortion and phase artifacts

• Independent muting and solo’ing of each band

• Effortless, foolproof operation, expensive results

• 32-bit AU, VST, & RTAS (Mac)

• 32-bit VST (Win)

• iLok 1 or 2 required

Moog's 500 Series Analog Delay

The Moog Analog Delay is the world’s first delay designed exclusively for the 500 series format. It is a MIDI syncable module that features a 100% analog signal path, front panel MIDI, and an assignable Tap Tempo/CV jack. Included with each unit is a free VST/AU/RTAS editor for easy implementation into any recording, live, and performance situation.

Out of the box you get 800ms of the warmest, and most musical delay on the planet. No emulation plugin can impart depth and life into your mixes like the Analog Delay.

The Analog Delay has been designed with tone, connectivity, and flexibility at the forefront. Moog’s engineering team worked tirelessly to deliver a 500 Series module with an incredibly clean front end that could easily pushed into a warm, natural overdrive for saturated delay trails or beyond for more distorted effects.

Though not on the front panel, the Analog Delay features a 6 Waveshape LFO that allows you to create other time based effects such as tape delay, chorus and extreme modulated sounds. The LFO can be easily accessed via MIDI or the free VST/AU/RTAS Analog Delay plug-in editor.

Also accessible via the editor are advanced features like Tap/CV input routing, Keyboard Control settings, Clock Divisions and a Delay Multiplier for access to illegal times up to 4x the front panel position. The Tap/CV input also can be fed audio from a click track to act as a tap tempo source.

The 500 series Analog Delay combines the sound of the ultimate analog delay with convenient digital control and flexibility to create the perfect recording and live sound tool.

Features:• 40-800ms Analog Delay Time
• .5x/1.0x time and filter switch
• 32dB of input Drive
• Assignable ¼” Tap Tempo and CV input
• MIDI control
• 6 Waveshape LFO
• Free VST/AU/RTAS editor (AAX coming soon)
• Stereo Linkable

Available in December. 
Pre-order for $899 at VintageKing Audio

The Orion32 Multi-Channel AD/DA Converter

Antelope Audio makers of the world renowned Atomic Master Clock has introduced the Orion32 AD/DA Converter.

"The Orion 32 is a 32-channel AD/DA converter and audio master clock, supporting both MADI and USB interfaces, clocked by Antelope’s renowned 64-bit Acoustically Focused Clocking (AFC) technology.
Orion 32 allows 192 kHz I/O streaming of 32-channel digital audio through its custom-built USB chip, which provides simple connectivity to any USB-enabled DAW or computer. The converter also provides 32 channels of 96 kHz audio through its Fiber Optic MADI I/O connections, which can be used to connect with any suitably equipped MADI device.
Orion 32 also supports ADAT protocol by offering 16 I/O channels, for even greater compatibility with a large number of audio devices. The multi-channel converter inputs and outputs pass the analog signal through 8 D-SUB 25 I/O connectors."

FEATURES:

• Antelope Audio precise AD/DA conversion technology
• Up to 192 kHz on 32 channels I/O via custom-built USB chip
• 32 channels I/O via Fiber Optic MADI I/O connections
• Eight D-SUB 25 connectors for AD and DA
• 16 channels on 4 ADAT input and output connectors
• Antelope’s renowned 64-bit Acoustically Focused Clocking with Atomic input
• Antelope’s proprietary Oven Controlled Oscillator for supreme clocking stability
• Four word clock outputs and one word clock input
• Five presets for fast and easy recall of favorite setups
• 1U rack size with power consumption of 15 Watts and very low heating levels
• A user friendly desktop application available for both Windows and OS X

MSRP $2995

Audio-Technica's new 5040 Studio Vocal Microphone

Audio-Technica announced their brand new 5040 Cardioid Condenser Vocal Microphone at the 133rd AES Convention this past weekend. I'm a big fan of their AT4050 Microphone and used/owned one for many years. (Found a good home for it last year with a horn player). So I'm very curious to hear what the 5040 sounds like.

"The AT5040 represents a milestone in condenser design, offering remarkably musical high-fidelity performance, with profound realism and depth, presence and purity of sound.
Designed as a first-choice vocal microphone, the AT5040 features an extremely smooth top end with controlled sibilance. Large-diaphragm characteristics and fast transient response also make it ideal for recording acoustic instruments such as piano, guitar, strings and saxophone."

FEATURES:

• Extremely musical high-fidelity performance, with profound realism and depth, presence and purity of sound
• Four rectangular diaphragms (2 micron) function together as Audio-Technica’s largest-ever element, providing combined surface area twice that of a standard circular one-inch diaphragm
• Exceptionally low noise and wide dynamic range ideal for studio vocals
• Discrete components carefully selected for optimized capsule performance
• High-SPL capability and extended frequency response
• Hand built and inspected for 100% quality control
• Advanced internal shock mounting decouples the capsule from the microphone body
• Elegant, durable housing of aluminium and brass
• Included advanced-design custom AT8480 shock mount provides superior isolation
• Custom hard-shell carrying case with die-cut foam compartments offers protection during storage and transport

SPECIFICATIONS:

• Element: Fixed-charge back plate, permanently polarized condenser
• Polar pattern: Cardioid
• Frequency response: 20 – 20,000 Hz
• Impedance: 50 ohms
• Open circuit sensitivity: –25 dB (56.2 mV) re 1V at 1 Pa*
• Maximum input sound level: 142 dB SPL, 1 kHz at 1% T.H.D.
• Noise: 5 dB SPL
• Dynamic range (typical): 137 dB, 1 kHz at Max SPL
• Signal-to-noise ratio: 89 dB, 1 kHz at 1 Pa*
• Phantom power requirements: 48V DC, 3.8 mA typical
• Weight: 582 g (20.5 oz)
• Dimensions: 165.3 mm (6.51'') long, 57.0 mm (2.24'') maximum body diameter
• Output connector: Integral 3-pin XLRM-type
• Accessories furnished: AT8480 shock mount for 5/8"-27 threaded stands; protective carrying case

MSRP $2999

This is a great app for all recording enthusiasts!

The Allen Sides' Ocean Way Microphone Locker App is a great way to learn about microphones and their application in various recording scenarios. The app is based on Allen Sides vast knowledge and extensive mic collection at his famous Ocean Way Studios.
Take a look at this video featuring Steve Vai giving an overview of the Microphone locker App:

Currently available for iPhone/iPad. Hopefully the app will be made available for Android soon.

Download on iTunes.

THE BETTERMAKER 502P - 500 series Analog EQ with Recall

THE BETTERMAKER 502P is now being shown at the 2012 AES show in San Francisco and its sure to become a quick favorite not only because of its sonics but due to its complete integration with your DAW. You can recall settings with your sessions and control/automate it from within the DAW with the plugin. Marek says its the same circuitry as their 230P rack mount Eq that I blogged about previously. The 502P is a stereo 500 series unit that connects to your computer via USB.

FEATURES:

• Stereo Passive Analog EQ
• 399 recall presets on the unit
• Full D.A.W recall in your session
• The EQ follows the plugin as well as the plugin follows the EQ
• Full automation via plugins (RTAS, AU, VST, 32,64)

MSRP: $1450

Crane Song Falcon 500 Series Compressor

FALCON is a classic sounding tube compressor in a 500 series package.
FALCON features 3 attack and 3 release time settings, hard and soft knee choices for compression or limiting, two different audio path sounds, wet-dry mixing for parallel compression, and is linkable.

The audio path color is changed by modifying the tube circuit so it has negative feedback or does not have negative feedback. This along with the optical like quality of the compressor allows for a colored vintage sound or a much cleaner sound with optical characteristics.

When linked the master unit controls all functions on the slave except for wet-dry and make up gain. The link system is capable of doing 5.1

The FALCON ships in January.

CraneSong

Aurora Sidecar

A magnificent piece for the audio professional, the Aurora Sidecar delivers 10 channels of pure Class A discrete fury complete with 4 band EQ and super thick, transformer coupled two bus output for the user. Each channel of the Aurora Sidecar features Aurora Audio’s renowned DI input, individual analog VU metering, direct channel output connectivity, bus assign switching with pan, and top of the line Penny+Giles (P&G) faders.

Each Aurora Sidecar console is built with a heavy gauge steel frame designed for years of use and abuse. Every channel features steel guide rails and heavy-duty thumbscrews, keeping all ten channels firmly in place creating an ideal connection between module and frame, making module insertion and removal easy.

While being built like a Centurion tank, the Aurora Sidecar also features hand crafted wood cheeks and a hand tooled padded leather armrest, providing the extra touch of prestige and craftsmanship that only Aurora Audio can provide.

The classic 4 Band EQ allows you to mold sound in ways you didn’t think were possible. The 24 transformers that are living inside the Aurora Sidecar are designed and built to Geoff’s specifications, giving you the clarity and punch that so many
chase and now you will attain with ease. The faders and bus path were designed to not only keep your sound pure and intact, but once it hits those busses, you will be in a Class A discrete paradise that until now, only the select few have been to before.

The way Geoff designed the layout and the Aurora Audio team executes the build of the Aurora Sidecar makes basic maintenance a breeze. And while you should have a qualified technician help you do any serious work on the Aurora Sidecar, Aurora Audio offers the option of purchasing an extra channel module that can be swapped out easily so you never lose valuable studio time on your project.

Experience the ultimate with the Aurora Sidecar. The ultimate in construction. The ultimate in quality. The ultimate in reliability. The ultimate in SOUND.

Aurora Audio

Burl Audio's B32 Vancouver Summing Amplifier

From their product page:

In addition to the BX5, the B32 VANCOUVER introduces a new concept to the summing amplifier, GAIN BOOST. Adding gain boost with the BX5 will give your mixes that glue that you have been seeking ever since retiring your 2-track analog recorder. With 32 input channels and switchable tonality, the B32 VANCOUVER will allow your mixes to thrive in depth, warmth and clarity. Use the B32 VANCOUVER in conjunction with the B1 MIC PREs, the B80 MOTHERSHIP and the B26 ORCA and you will achieve THE COMPLETE SOLUTION.
BURL AUDIO introduces its latest hot bed of creativity, the B32 VANCOUVER, a 32 channel mix bus. Based on BURL AUDIO’s renowned discrete analog, class-A circuitry, the B32 mix bus employs both the transparency of the B26 ORCA, plus the switchable tonality of the new BURL AUDIO BX5 output transformer.

Features:
• Discrete, class-A signal path
• 8 mono inputs, 24 stereo inputs
• Audiophile 0.1% stepped attenuators
• Switchable BX5 output transformer
• Summing amp GAIN BOOST
• Dual stereo outputs

Burl Audio announces the B26 ORCA Control Room Monitor

From the website:

"Building on its reputation of sonic superiority, BURL AUDIO introduces the ultimate in control room monitoring, the B26 ORCA. The B26 ORCA utilizes the same analog, discrete circuit path philosophy as prior BURL AUDIO products with the emphasis on the ultimate in sonic transparency and 3D stereo imaging."

Features:
• Direct coupled, discrete, class-A signal path
• 3 stereo mix inputs, 2 stereo tape return inputs, RCA stereo input
• 2 stereo speaker outputs
• Audiophile 0.1% matched resistor, stepped attenuator for control room level
• Independent studio/phones send and level
• External meter output
• Control room and Studio headphone outputs

UA's Precision K-Stereo Ambience Recovery Plug-In

Universal Audio Announces Precision K-Stereo Ambience Recovery Plug-In For UAD Platform

Created in Partnership with Famed Mastering Engineer Bob Katz, K-Stereo Plug-In Recovers and Boosts the Natural Ambience of Recorded Sources

SCOTTS VALLEY, CA • October 26, 2012 —Universal Audio (UA), a leading manufacturer of professional audio recording hardware and software, is pleased to announce the impending release of the Precision K-Stereo™ Ambience Recovery Plug-In for the UAD Powered Plug-Ins platform and Apollo Audio Interface. Created by Universal Audio in collaboration with famed mastering engineer Bob Katz, the K-Stereo Ambience Recovery plug-in extracts ambient cues from source recordings — allowing users to precisely enhance the stereo depth and imaging of mixes without unnatural artifacts.

“The K-Stereo plug-in gives mastering engineers an easy, organic-sounding solution for excessively small mixes or mixes that need more space and depth — from classical to jazz, rock, or hip-hop,” said Bob Katz. “Because we’re effectively ‘pulling out’ the ambience that’s already in the recording, the results sound much more natural. I’m happy to be working with UA to bring K-Stereo to the UAD platform.”

Designed for critical 2-track mastering or post-production applications, the K-Stereo plug-in offers a “do-no-harm” approach to adding depth and width to busy or narrow-sounding mixes. Using elements of the Haas effect and other psychoacoustic principles, the plug-in transparently enhances existing ambience and early reflections without adding artificial reverb or changing the ratio of center elements to side elements.

Read the full press release at https://www.uaudio.com/index.php/press/releases/2012/k-stereo