Apple introduces iOS 5, New iPods and iPhone 4S

iPod Nano

Engadget has a live blog of the Apple Conference where they announced the new iPhone 4S. It will be available October 14th for AT&T, Verizon and Sprint. iOS 5 and iCloud will be available October 12th.
The voice activated intelligent assistant called "Siri" is a major development for the iOS platform.
See the live feed complete with a multitude of pictures here.

Here's a comparison Engadget did of the iPhone 4 and 4S:

iPhone 4S

iPhone 4

Price (on contract)	$199 16GB, $299 32GB, $399 64GB	$99 8GB
Processor	Dual-core Apple A5	Apple A4
Display	3.5-inch IPS 960 x 640	3.5-inch IPS 960 x 640
Primary camera	8 megapixel AF with flash and f/2.4 aperture	5 megapixel AF with flash
Secondary camera	VGA at 30fps	VGA
Video recording	1080p at 30fps, optional iMovie	720p at 30fps, optional iMovie
Cellular	Hybrid GSM / CDMA "World Phone", Bluetooth 4.0	Quadband GSM, pentaband HSPA
WiFi	802.11b/g/n	802.11b/g/n
Orientation sensing	Accelerometer, digital compass, gyroscope	Accelerometer, compass, gyroscope
FaceTime video calling	Yes	Yes
SIM standard	Micro SIM	Micro SIM
Battery life	Up to 8 hours talk time on 3G 14 hours talk time on 2G Up to 6 hours data on 3G Up to 9 hours data on WiFi Up to 40 hours audio Up to 10 hours video	Up to 7 hours talk time on 3G, 14 hours on 2G Up to 10 hours data on WiFi Up to 40 hours audio Up to 10 hours video
Weight	140 grams / 4.9 oz	137 grams / 4.8 oz.
Dimensions	115.2 x 58.6 x 9.3mm	115.2 x 58.6 x 9.3mm

http://www.engadget.com/2011/10/04/iphone-4s-vs-iphone-4-the-tale-of-the-tape/

The Schmidlin Fed+ All Tube Audio Compressor

The Schmidlin Fed+ All Tube Audio Compressor is inspired by the Federal AM-864/U 
compressor-limiter but with added features for today's market. I like that it can be used as a
tube pre when used with a high output microphone:

"Note that this unit can be used as a tube pre utilizing the 22dB gain (by maximizing the
Threshold and minimizing the Ratio). This requires an efficient mic and a strong signal for best effect, so a ribbon mic with a violin (for example) would not be sufficient. If the unit is hit really
hard, some compression does kick in"

Audio clips in mp3 and Wav format comparing the Fed+ on different sources are available on their website.

SPECIFICATIONS:

Build Quality:
- British input transformer
- USA power and output transformer
- Paper-in-oil (glass sealed) signal and side chain capacitors
- Carbon-film resistors
- 3 1/2" Analog meter
- Solid state rectification with additional power supply smoothing
- All aluminum powder-coated chassis
- Balance Adjust for calibrating the 6BD6 tubes (when re-tubing)

Sonic Specifications:
- 600 ohms in and out, balanced
- Available Gain Reduction: 25dB
- Gain Reduction Threshold: +10dBm to -30 dBm
- Total System Gain: 22 dB gain above unity
- Frequency Response: +/- .25 dB 20-20,000 Hz
- Noise: -70dB or better referenced to gain reduction threshold
- Maximum input: 24 dBm
- Maximum output: 20 dBm

$1499 at http://theschmidlin.com/ 

Waves October Super Specials

For a limited time only, when you purchase a selected $199 Waves plugin, we’ll give you a $200 voucher toward your next purchase.

Vouchers valid within 14 days of purchase toward 25% off single plugins / 50% off bundles. Offers valid from October 1st through October 31st, 2011 only.

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Pensado's Place: #38 - Peter Reardon, Founder of Shadow Hills Industries

In the 38th episode of Pensado's Place, Peter Reardon of Shadow Hills Industries joins Dave and Herb to talk about his incredible career as well as his work creating some of the best pro-audio gear in the world with Shadow Hills Industries. This week's ITL consists of Nicki Minaj's engineer Ariel Chobaz joining Dave via Skype to talk about the plug-ins and their settings he used on her worldwide hit single "Super Bass". You don't want to miss this episode!

JBL MSC1 Monitor System Controller with Room Mode Correction

 JBL's MSC1 is a Monitor System Controller with their RMC Room Mode Correction technology that works with any speaker. Its list of features and small size makes it an excellent choice for a desktop or mobile studio.

"As the “hub” of your system, the MSC1 controls the monitoring of three stereo input sources such as a computer workstation, mixing console, electronic musical instrument, CD or personal MP3 player. The MSC1's primary speaker “A” outputs include a level control, monitor EQ and RMC Room Mode Correction to tune the monitors to the room. Selecting the “B” outputs assigns the volume control and input routing to a second set of speakers. Subwoofer controls let you add a sub to the “A” speaker system, with a dedicated level control, and a choice of bass management crossover settings. The MSC1 headphone output and independent level control let you send a headphone feed to a performer or monitor using headphones in the control room."

"The MSC1 includes JBL’s acclaimed RMC Room Mode Correction technology that measures your room and tackles low frequency problems caused by room modes and boundary conditions. The MSC1 comes with everything needed to calibrate your system including a Calibration Mic, MSC1 Control Center Software*, and accessory cables. Calibration is simply carried out using the supplied microphone, MSC1 Control Center Software and your computer. Before measuring your room, Control Center meticulously measures the signal path of your audio system to set the stage for an accurate speaker calibration. Control Center Software guides you through every step. Once your system has been measured, re-calibration of your speakers is fast and easy and can be done at any time. After RMC calibration, the MSC1 works as a stand-alone controller and connection to a computer is not required."

"In addition to managing RMC Calibration, the MSC1 Control Center Software provides fine-control of monitor EQ, speaker alignment delay, subwoofer balance, and bass-management crossover settings. Control Center Software is included with the MSC1. Control Center is compatible with XP and Vista 32-bit and 64-bit operating systems. Macintosh software now available."

FEATURES:

• Master Volume Control
• A/B Speaker Select
• A/B/C input Source Select
• Subwoofer Output with Level Control and 
• Selectable Cross Over Frequencies
• Adjustable Low Frequency and 
• High Frequency Speaker EQ
• Headphone Output with Volume Control
• Monitor Mute Control
• RMC On/Bypass Control
• Adjustable input gain with Signal Present and Clip indicator
• Can be used with any studio monitor system

SPECIFICATIONS:

• S/N, Dynamic Range : 110 dB typical A-weighted 20 Hz - 20 kHz
• Frequency Response : +0/-O.5 dB, 20 Hz - 20 kHz
• THD+N : < 0.04% A/D/A, 20 Hz - 20 kHz
• A/D, DA Converters : 24 Bit
• Internal Processing : 48 Bit, 48 kHz
• Maximum Input Level : +24 dBU 6.5mm (1/4" TRS Inputs), +4 dBu phono (RCA Inputs)
• Maximum Output Before Clipping : +17 dBu
• Power Requirements : 12 VDC, 0.5A
• Dimensions W x D x H : 198 x 165 x 83 mm (7.8 x 6.5 x 3.25 in)
• Inputs A, B / C : 4 Balanced 1/4" TRS, 2 Unbalanced RCA
• Outputs A, B and Subwoofer : 5 Balanced 1/4" TRS
• Headphone : Stereo 1/4"
• RMC Mic IN / OUT : 1/8" TRS
• Computer Interface : USB 2.0
• LF EQ Frequency : 20 Hz to 1.1 kHz Shelf 32 options
• LF EQ Gain : +/- 3 dB in .25 dB increments
• HF EQ Frequency : 2.5 kHz to 17 kHz Shelf 28 options
• HF EQ Gain : +/- 3 dB in .25 dB increments
• Level : +/- 10 dB from nominal in .5 dB increments
• Selectable Crossover Frequencies : 60 Hz, 80 Hz, 120 Hz
• Polarity : 0 degrees / 180 degrees 

$299 at Dale Pro Audio

AEX Labs AX-1 Nearfield Monitor Series

AX-1 

AX-1.1

Michael Joseph of AEX Labs recently sent me some literature about their line of speakers. They have an interesting design and impressive specs. Look forward to trying them out  soon.

AX-1       8" 2 way nearfield monitor

AX-1a     6" 2 way nearfield monitor

AX-1.1    Dual 8" 2 way nearfield monitor

The AX-1 "The Axe" is small in size yet huge sounding, and will provide 100 DB of world class sound with an amazing ability to finesse and astound at the same time. The AX-1 is a 2-way, bi-amp, active monitor, built and designed to be completely accurate and flat. The AX-1 will reproduce audio with extraordinary realism and clarity.

 

Features 

• HF-1 Ribbon Driver
• MB-6/8 Midbass Driver
• CCAS Bi-Amplified Control System*
• Large, Precise Soundstage and Imaging 
• Low Fatigue At Higher Output Levels
• USB Interface To ANY Computer*
• Speakon A/C Cable*
• WBT Binding Posts 

        *Active Model

Specifications

	AX-1a	AX-1	AX-1.1
HF Driver	HF-1	HF-1	HF-1
LF Driver	MB-6	MB-8	2- MB-8
Sensitivity (1w/1m)	100db	100db	100db
Frequency Response	100-40khz	70-40khz	50-40khz
Impedance (LF/HF Passive)	8/8 ohm	8/8 ohm	4/8 ohm
Power Handling (LF/HF Passive)	200w/150w	300w/150w	600w/150w
CCAS Output  (LF/HF)	350w/175w	350w/175w	500w/175w
Recommended Crossover Freq.	700-800hz	700-800hz	700-800hz
Dimensions (W x H x D)	17"x12"x9"	22"x12"x12"	27"x12"x12"
Dimensions (W x H x D (with CCAS)	19"x12"x9"	22"x12"x12"	27"x12"x12"
Weight (Passive/Active)	30/45 lbs.	35/50 lbs.	40/55 lbs

AEX also has midfield (AX-2 series) and Mains (AX-5, 8 & 25.5/28.5 series).

Make sure to check out their new flagship model the AX-8.4.2 which was originally designed for John Powell's 8000 sq.ft. L.A. facility.

"This model includes the LF18 Bass Driver, our flagship low frequency driver, capable of handling over 2,000 watts. The AX-8.4.2 also contains 4 MB6 midbass drivers, (one on each side of 2 stacked HF1 high frequency drivers (allowing for an asymmetrical configuration). The total power handling capabilities of this monitor is an incredible 3,150 watts per channel. The AX-8.4.2 effortlessly provides remarkable world class sound (for cinema, multichannel, etc.) at high output levels with no fatigue. This model is a tri-amplified, active, full range monitor. Built and designed to be completely accurate and flat, the AX-8.4.2 will reproduce audio with extraordinary realism and clarity."

For more info visit http://www.aexlabs.com/

Nomad Factory Motown Retro Bundle only $20!

AudioMidi.com is currently blowing out the Nomad Factory Motown Retro Bundle for only $20. The bundle consists of emulations of the two equalizers that were used on many of Motown's biggest hits. I can't say how faithful they are to the originals but at $20 it's definitely worth getting.

RETRO MUSIC-TONE 

The Retro Music-Tone is a 7-band passive equalizer plug-in emulation of the hardware version used exclusively by Motown engineers.

Like in the original hardware units, we have recreated the proportional Q which means that there is no adjustable Q bandwidth : small boost/cuts have a very broad Q and greater boost/cuts have a narrower one. You just have to adjust the gain of each fixed frequencies (from -8dB to +8dB) according to taste and the resulting tonal color


Features :

• 7-band equalizer with, Gain and Proportional Q.
• 50 Hz, 130 Hz, 320 Hz, 800 Hz, 2 kHz, 5 kHz and 12.5 kHz.
• Boost / Cut up to 8dB per band
• Phase reverse switch
• Vintage VU Meter
• Full Automation for all parameters PC and Mac OS X
• Easy-to-use vintage interface

RETRO FILM-TONE

Like his brother above, the Retro Film-Tone is a 7-band passive equalizer with fixed frequencies and Proportional Q emulation of the hardware version used exclusively by Motown engineers. As you can see, the overlaping frequencies make it possible to use both plugins together on the same track / bus so that it gives you a total of 14 bands.

Features :

• 7-band equalizer with, Gain and Proportional Q.
• 80 Hz, 200 Hz, 500 Hz, 1.2 kHz, 3.2 kHz, 8 kHz and 16 kHz.
• Boost / Cut up to 8dB per band
• Phase reverse switch
• Vintage VU Meter
• Full Automation for all parameters PC and Mac OS X
• Easy-to-use vintage interface

Nomad Factory Motown Retro Bundle v1.2 No-Brainer 

Vote for Gobbler & ProTools Integration

Gobbler is a great service for audio/video professionals to backup, organize and send data. They are currently seeking full integration with ProTools. They are also still offering free 25GB accounts. Please visit the Avid Community site to cast your vote for ProTools integration.

Here's an earlier post I did on Gobbler:
http://garynobleshow.blogspot.com/2011/06/gobbler-free-50gb-account-for-signing.html

DontCrack V.I.P. Plug-in Series - 50% off!

DontCrack.com sent me this email about their new V.I.P. Plugin Bundle. It consists of 21 plugins at an introductory price of $299 until Oct. 10. They're compatible with both Windows and Mac and don't require an iLok. In fact you can download the entire bundle and run it in demo mode.
The ones that caught my attention immediately are the Analoger, Clarisonix, Digital Plate, Dimension 3D, EchoFlex, Electro Optical and Retro Equalizer. I plan to demo these as soon as possible. If you have already used them please leave a comment on the blog. I would like to hear your likes and dislikes on the V.I.P. Bundle.

 

Dear visitor,

We at DontCrack are very proud to announce the launch of a new audio plug-ins suite that might change the way you think about audio plug-ins.

The DontCrack "V.I.P. plug-in series" aim audio professionals alike that, in todays market need simple and easy-to-use audio tools in their everyday tasks. In response to that demand, we have partnered 

with leading plug-in designers from around the world to bring a series of hight quality plug-ins 

that offers instant sonic satisfaction while offering a clean interface with only the most essential 

knobs and switches to quickly tweak sound parameters.

Learn More about our NEW DontCrack V.I.P. Series Plug-ins.

To celebrate the event we are making our V.I.P. bundle available for only $299 (MSRP $599) 

 from today till Monday, October 10, 2011. Isn't that what you guys call a "no brainer".

Best Regards,

The DontCrack Team
www.DontCrack.com

Join us on FaceBook

 

MixControl Pro Channelstrip Plugin

DNR Collaborative has updated their MixControl channelstrip plugin to MixControl Pro. The upgrade is $59 for existing customers and $99 for new customers until tomorrow. After which the price will be $129.
It supports both Windows(VST) and Mac(VST and AU). RTAS support coming soon.


"MixControl Pro is a complete high-quality, professional channelstrip with a unique sound that offers flexible module processing, ultra-pristine audio quality and a combination of useful new features.
MixControl Pro builds on the solid foundation known in the original MixControl by adding many useful aesthetic and functional enhancements such as extremely high-quality oversampling, 2 new professional UI layouts, 3 unique analog-style saturation modes, and a much more responsive FFT analyzer. Gate mixing, sub-preset loading modules and quick mouse controls round out the new workflow enhancements to enable you to work faster and smarter to get the perfect mix for your project."


FEATURES:

• 2 unique compressor modes
• 3 gate/comp level detection modes
• Ultra-responsive, flexible gate
• Gate/comp sidechain + filters
• Spectrum Analyser (in/out/off)
• 6-band paragraphic equalizer 
• Module-specific patch recall
• 13 Equalizer filter curves
• Brickwall limiter with release
• Multi-band stereo enhancer
• Dynamics metering (env. follow/peak)
• 64-bit internal processing engine

NEW FEATURES:

• In/Out gain stages (+12dB)
• Solo for individual EQ bands
• 3 Unique new saturation modes
• Gate wet/dry mixing function
• Enhanced metering accuracy
• Adjustable FFT (fast/normal/slow)
• High-Quality oversampling mode 
• 2 UI Versions (Extended+Refined)
• Mouse wheel EQ node control
• Right-click Filter selection
• User adjustable display colors
• Various workflow enhancements
• 64-bit OSX version (AU/VST)
• RTAS coming soon

Download a 14 day demo here

Why You Only Hear Major Label Songs On The Radio

Techdirt has an interesting article on why independent artists are not heard on major radio stations. The article is based on an a post from George Howard on Tunecore's blog.
Here's an excerpt explaining why independent labels don't get the same attention as the Majors:

Getting a song “added” to a station’s playlist to get a certain number of plays per week involves a rather byzantine process that brings in various parties, called independent promoters (“indies”). These “indies” are first paid by the label. It’s important to note that the money the indies receive isn’t necessarily compensation paid directly to them for getting Program Directors to get a song played. Rather, they work more like an intermediary to pass the label’s money to the radio station. These indies, with the money paid to them from the labels, pay the radio station money for various listener give-aways, bumper stickers and so on. To top it off, these very same indies are often also paid a second time by the stations themselves as a consultant to advise the stations on what songs they should play.

Because of this, the major labels absolutely dominate radio airplay. Independent labels could try to hire the same indie promoters, but won't get the same attention anyway:

Here’s why: You’ve come to these indies, and they’ve gone to the labels, and they’ve taken your money, and they know that you’re probably not coming back any time soon. On the other hand, the majors are coming every week with money and new artists. Who would you prioritize if you were in the indie/radio station’s shoes?

The article goes on to say how the internet, specifically music blogs are becoming a huge alternative to traditional radio:


"If you're wondering exactly why the labels have been trying to shut down popular hip hop blogs recently, look no further than this story. Such blogs have really become "the new radio" for creating hits for the younger generation. But, unlike the old radio, the major labels don't "control" these blogs in the way they control radio"


Also George's article mentions other alternatives and why they're changing the way we listen to music:


"Customers who have been fed a steady diet of music that is not being played because it impacts the market, but rather because it was the highest bidder, eventually lose interest and look for alternatives.  Up until recently, there weren’t alternatives, but now with internet radio, satellite radio, subscription services, and your own playlists on your iPod/iPhone, the alternatives abound."


What do you think? Agree, Disagree?

Dave Smith Instruments Tempest

Dave Smith Instruments Tempest is a new analog/digital drum machine/synth hybrid that Dave Smith (known for Sequential Circuits) designed with Roger Linn (Linn Drum, MPC 60).

I like the layout and the features. The fact that you have direct access to many of the parameters via various knobs allows you to modulate the sounds and beat patterns on the fly. The included samples were supplies by Fxpansion and Goldbaby. It doesn't allow you to load your own samples but it was implied that feature will be in a later generation/update of the Tempest. If it can trigger and manipulate external sounds via Midi it would make a great controller.

"Tempest is a collaboration between Smith and longtime friend and fellow instrument designer Roger Linn. Though they've consulted with each other on past projects, Tempest marks the first time a product will carry both the Dave Smith Instruments and Roger Linn Design logos."
"The design of Tempest reflects a rethinking of what a drum machine needs to be in the current era. It's not so much a drum machine as a new musical performance instrument for the creation, manipulation, and arrangement of beat-oriented music, with an intuitive and efficient use of human gestures."

FEATURES:

• 16 pressure- and velocity-sensitive backlit drum trigger pads in an 8 x 2 matrix
• 6 analog voices each with 2 analog oscillators and 2 digital oscillators loaded with a large bank of included samples
• Modulation path includes Dave Smith's classic analog lowpass filter with audio-rate modulation, highpass filter, analog VCA with feedback, 5 envelopes, 2 LFOs, and an extraordinary variety of analog modulation routing options
• Doubles as a 6-voice analog synth
• 6 direct voice outputs plus stereo mix outputs, headphones outputs, 
• 2 inputs for foot switches or expression pedals
• MIDI in/out
• USB
• 90 panel controls
• Bright 256 x 64 OLED display
• Realtime and step recording
• ROLL button permits creating drum rolls or repeated groove patterns by varying pad pressure as the beat records
• ROLL button doubles as a momemtary "stutter" effect when the pads are assigned to play beats. Sustain button holds the note of tuned parts (like a keyboard's Sustain pedal) or to choke drum sounds or drumbeats when the pad is released
• 2 pressure- and position-sensitive Note FX slide controllers permit real-time recording of note or beat-wide sound parameter changes into the drumbeat as you play
• A variety of unique effects: 
• Stereo analog compressor and distortion circuits affect the stereo output mix
• Beat-synced delay is achieved by generating additional delayed note events within the sequencer
• A beat-synced "stutter" effect is created entirely within the sequencer by looping short portions of the drumbeat on demand
• Adjustable swing timing with realtime control

Dimensions: 15.4" L x 9" W x 2.5" H

Here's a video guide of the Tempest featuring Roger Linn.

$1999 at Sweetwater Sound.