Drawmer 1974 Stereo Parametric EQ, 1976 Stereo 3-Band Processor
Legendary UK Effects Company Recalls the Legendary ‘70s Sound
At Summer NAMM, Drawmer (distributed by TransAudio Group) announced that it is now shipping the much-anticipated 1974 Stereo Parametric EQ and 1976 Stereo 3-Band Saturation and Width Processor. The 1974 Stereo Parametric EQ uses one set of controls for both channels via dual-channel, precision-stepped potentiometers. It has four bands and features variable highpass (10-225 Hz) and lowpass (4 kHz-32 kHz) filters that let users focus just on the frequency range of the instrument they’re working with. After that, the low and high bands use variable frequency, steepness, and gain settings. The low-mid and high-mid bands provide frequency, bandwidth, and boost/cut controls. All of the 1974’s pots are stepped to make recall and documentation easy and reliable.
The 1976 Stereo 3-Band Saturation and Width Processor includes three identical sections separated by two variable-frequency crossover filters. Within each section, users can dial in a custom degree of saturation, change the volume, and readjust the stereo signal from mono to stereo to wide or anywhere in-between. Three bands of analog saturation allow users to add warmth and grit only where it’s needed. The width processor opens up the stereo image and provides a more three-dimensional feeling of space and presence. The crossover’s ability to define those bands as needed for a given situation make the Drawmer 1976 a versatile, one-of-a-kind, sonic sculpting tool. Each unit is priced at $999 MAP in the USA.
Waves Audio Abbey Road Studio 3 Plug-In
Modeling of Room Acoustics, Powered by Nx Immersive Tech
Using Waves’ Nx immersive audio technology, the plug-in recreates the acoustic response of Abbey Road Studio 3 for immersive use on headphones, allowing users to hear and mix their own work in a virtual recreation of the world’s most famous studio. Users will reportedly be able to hear the same clarity of stereo and surround image, and accurate sustain, via a pair of headphones, It also provides 5.1 and 7.1 surround sound, modeled after the studio’s original surround setup, allowing users to mix for surround on a pair of typical stereo headphones. As a result, users can mix in the virtual space whether they’re in a proper mix facility or on the road, and similarly, multiple users with the same plug-in can send mixes back and forth that can all be heard in the same common mix space.
Focusrite Launches Scarlett 3rd Generation Range
6 Configurations Include New Preamps, Converters and Air
Focusrite recently debuted Generation 3 of its Scarlett range of USB interfaces, with six configurations of ins and outs, new mic preamps, Air (the Air effect of Focusrite’s original ISA mic preamp, giving vocals and acoustic music a brighter and more spacious sound), high headroom instrument inputs, and high-performance converters. The range includes I/O configurations to suit almost any situation: Solo, 2i2, 4i4 8i6, 18i8 or 18i20. The new 4i4 and 8i6 add more line I/O vs. the 2nd Gen 2i4 and 6i6. New Solo and 2i2 Studio Packs are also available, with Scarlett HP60 MkIII headphone and CM25 MkIII condenser microphone. Every Scarlett interface comes with a whole range of software tools including: Ableton® Live Lite; Pro Tools | First Focusrite Creative Pack; free three-month Splice Sounds subscription; XLN Audio Addictive Keys; Focusrite Red Plug-in Suite; Softube Time & Tone Bundle; plus a two-year warranty and membership of the Focusrite Plug-In Collective, offering regular free software downloads and discounts.
TASCAM Adds iZotope Neutron Elements
Series 102i and 208i Audio/MIDI Interfaces Include Full Version
TASCAM announced that it is now including a free full version of iZotope’s Neutron Elements, a suite of machine-learning music mixing software, with its Sereies 102i and Series 208i audio/MIDI interface units. Both the 102i and 208i offer up to 24-bit/192 kHz sample resolution, transparent, natural-sounding, ultra-low noise Ultra-HDDA mic preamplifiers, and XLR/TRS combo mic/line/instrument inputs.
iZotope’s Neutron Elements mixing software distinguishes itself by integrating a Compressor, Exciter, Transient Shaper, and EQ with Soft Saturation mode into a single interface. The software’s unique Track Assistant feature is the first-ever intelligent mixing solution that can listen to audio and dial in a custom preset array of plug-in parameters for an optimal mix—all in under 10 seconds. Both the 102i and 208i feature integrated MIDI functionality, built-in processing including reverb, and can be fully controlled with TASCAM Control Software.
Antelope Audio Synergy Core Platform
Discrete 4, Discrete 8 Renamed to Reflect New Processing System
Antelope Audio has introduced its Synergy Core signal processing platform for its Discrete 4 and Discrete 8 audio interfaces, resulting in the units being renamed Discrete 4 Synergy Core and Discrete 8 Synergy Core. Dual DSP chips and an FPGA processor work together to host Antelope’s vintage-inspired effects plug-ins (plus any third-party effects joining the Synergy Core platform), freeing up your host computer’s CPU. The Discrete 4 Synergy Core offers four discrete mic preamps, plus a total of 14 inputs (including four Line-1/4-inch Jack | Mic-XLR combi inputs) and 16 outputs (including L and R monitor outputs and Line Out on four TRS connections), expandable via ADAT In Out and S/PDIF In Out on TOSlink. Discrete 4 Synergy Core comes with 36 Real-Time FPGA FX from Antelope Audio. The rack-mountable Discrete 8 Synergy Core sports eight console-grade, discrete mic preamps and a total of 26 inputs, including eight Line-1/4-inch Jack | Mic- XLR combi inputs, and 30 outputs, including L and R monitor outputs and two reamp outputs on TRS connections, and Line Out 1-8 on a D-SUB 25 connector, expandable via dual ADAT (In 1 Out 1 and In 2 Out 2) and S/PDIF In Out on TOSlink, plus a footswitch jack. It, too, comes with 36 Real-Time FPGA FX.
ProCo Sound W.I.E.M.S.
Compact Wireless In-Ear Monitor System in 5.8GHz Band
At Infocomm, ProCo Sound, an ACT/RHC brand, introduced its new wireless in-ear monitor system (W.I.E.M.S.), the most-compact in-ear solution on the market today. It features a sleek and simple design, with no external antennas and a seamless plug-and-pair setup. With up to 30 meters of range (line-of-sight) between the transmitter and beltpack receiver, the W.I.E.M.S can be used in a variety of applications, including live sound, broadcast and film, as well as in educational and other install-based instances. W.I.E.M.S. has four user-selectable channels and features a 3.5mm headphone jack—enabling users to plug in their preferred earpiece. The receiver automatically pairs to the transmitter, which uses the 5.8GHz frequency band. This low-latency (less than 5.6 milliseconds) solution has 24-bit audio quality with a 48KHz sampling rate and transmits from a balanced, line-level output Additionally, with a simple XLR cable, the transmitter works through any Dante-enabled wall-plate or drop-snake, such as ProCo’s latest AoIP solutions. The receivers are powered by a lithium-ion battery, which is easily rechargeable with a micro USB.
Focusrite Brainworx bx_console
Plug-in Recreates Sound of Legendary ISA 110 EQ, ISA 130 Dynamics
Designed and coded by software house Brainworx, Focusrite’s new bx_console VST/AU/AAX plug-in aims to recreate the sound, feel and style of the original Focusrite Studio Console—specifically its ISA 110 Equalizer and ISA 130 Dynamics Modules. Modeling the full signal paths of the ISA 110 and ISA 130, bx_console provides four bands of parametric and shelving EQ, highpass and lowpass filters, compression/limiting, gating/expansion, and de-essing. While emulating the original, it includes modifications such as continuously variable THD and Gain controls. Brainworx’s Tolerance Modeling Technology provides 72 selectable modeled circuits, allowing users to recreate the subtle timbral variations between channels such as the real console. The bx_console, listing for $349, comes free with every Clarett and Red audio interface.
Solid State Logic Native 6.3 Plug-ins
New X-EQ 2, Plus M/S Processing, Band Solo and New Filter Shapes
Solid State Logic has unveiled the latest edition of its Native 6.3 plug-ins, a free update for existing Duende Native and SSL Native customers. The update introduces a new X-EQ 2 Native studio plug-in, which replaces the existing X-EQ plug-in with a new GUI, rewritten algorithms and new features. The plug-in uses SSL’s proprietary “anti-cramping” DSP aiming to provide a transparent EQ; the plug also allows for the creation of up to 24 EQ bands with a choice of 17 classic and modern filter shapes and EQ types. Other new features include M/S processing modes, Band Solo and extra analysis tools, including Phase and Step response plots. X-EQ 2 also features “significant” DSP optimization, according to SSL, aiming to keep the computer’s CPU load low. SSL Native v6.3 plug-ins are available in AAX, VST3/VST2, and AU formats, 64-Bit only. There is no longer a need for a physical iLok dongle; all SSL Native 6.3 plug-ins can now be authorized to a computer.
Antares Auto-Tune EFX+
Multi-Effects Rack Adds Doubling, Tube Distortion, Filters, and More
Antares recently released Auto-Tune EFX+, the latest plug-in in its Auto-Tune EFX series. As in Auto-Tune EFX 3, you get Auto-Tune vocal tuning, including the ability to create the warbly "Auto-Tune effect." It also improves the Auto-Motion feature, which lets you impose melodic patterns on vocals. But the biggest news is the addition of the Auto-EFX Multi-Effects Rack, which enables users to add doubling, tube distortion, pitch and throat effects (changing formants and more), mutate effects (ring modulation), filter effects, and vocoder effects. The Multi-Effects Rack feature lets you run up to four effects at a time. Because there are six effects types, you choose a template from various combinations of the included effects in an assortment of orders. Once you have your four effects, you can turn them on and off individually, and you can edit two parameters for each using an XY Pad.
Stage Tec AVATUS IP Console
Patented, Color-Coded Faders and Unlimited Parameter Access
Stage Tec has been quietly rejuvenating its mixing console line and recently launched AVATUS, a fully IP-based console that introduces a completely new operating concept. Unlike previous consoles, there is no need for a center control section. 12 color-coded faders, two 21-inch multitouch displays, and 48 dual-concentric encoders per unit can be combined to form sizes ranging from 12 to 96 faders. Modular, decentralized, and yet freely configurable, users can access all parameters at any time. The channel parameters’ color coding—a new patented concept for faders—supports a fast workflow and guides the user intuitively through the functions of the mixing console. With remote control via an integrated browser application, the most important AVATUS parameters can be accessed with the same color coding. The RMDQ DSP core built into the NEXUS Star Router is also employed here. Embedded in the NEXUS network, AVATUS has access to all inputs and outputs and can manage all resources. 128 freely programmable summing buses and up to 800 DSP channels are available.