Friday, 15 December 2017

"STA Claus" comes to town thanks to Audified’s feel-good festive promo pricing on STA Effects processing plug-in bundle

Audio software and hardware effects developer Audified is proud to announce a festive feel-good pricing promotion on its critically-acclaimed STA Effects — an already affordable summing tube processing plug-in bundle based around its proprietary STA (Summing Tube Amplifier) technology from which it takes its name — equating to an attractive 62% discount running from December 15.
 ‘STA Claus’ is, indeed, coming to town, lighting up the festive studio season with warming tube-driven sounds at a heart-warming discounted price of only $49.00 USD — unmissable as a 62% saving over its MSRP of $129.00 USD! Technically, the namesake STA technology that the STA Effects bundle of summing tube processing plug-ins benefit from features two signal paths — one processed by modulation or spectral change, the other remaining unprocessed. Ultimately, those two signals are mixed via vacuum tube circuitry models, making more ordinary-sounding effects like flanging or phasing sound exceptionally extraordinary with warming audio attributes like no other!
On that very note, all six STA Effects plug-ins — including the self-explanatory STA Chorus, STA Delay, STA Enhancer, STA Flanger, STA Phaser, and STA Preamp — perform pleasingly to the ear, enabling a beautiful balance of flexibility and familiarity for discerning DAW (Digital Audio Workstation) users, thanks to several superb-sounding saturation characteristics available at a painless press of an associated virtual button: P (Presence — higher amount of mid-high frequencies to better cut through the mix), V (Vintage — smoother highs and more even harmonics), B (Brown — an almost flat frequency response with only light high-frequency rolloff and attractive higher harmonic punch), W (White — higher amount of higher frequencies with balanced ratio between the even and odd harmonics), and L (LoFi — less low and high frequencies).

 STA Effects can be seen and heard in an informative introductory video

Fortunately, Audified’s attractive pricing promotion makes STA Effects an even more merry purchasing proposition for festive music-making. Merrier still, anyone about to purchase Audified’s acclaimed MixChecker, U73b Compressor, U78 Saturator, or RZ062 Equalizer plug-ins — perhaps the self-explanatory Studio Bundle or Live Guitar and Bass Bundle, even? — should seriously think about doing so sooner rather than later since all such purchases come complete with STA Ehancer (also included in STA Effects) for free during the aforesaid attractive pricing promotion. What better way to see in the New Year, then, than with some seriously-discounted new audio effects!

All six STA Effects are available to purchase as a bundle — running as AAX, VST3, and VST2 plug-ins on Mac (OS X 10.9 - 10.13) and PC (Windows 7 - 10) and AU on Mac — at a seriously-discounted ‘STA Claus’ promo price of $49.00 USD from December 15, 2017 through to January 1, 2018 (returning to its MSRP of $129.00 USD thereafter) from Audified’s online shop here: https://shop.audified.com/collections/products/products/sta-effects

STA Effects is directly downloadable (alongside a demo version) from Audified here: http://services.audified.com/download/STA
 
About Audified (www.audified.com)
Audified is the premier brand of privately-owned Boskovice-based DISK Multimedia, s.r.o. in the Czech Republic, created to develop specialised audio applications, as well as handling the company’s high-end hardware product portfolio. Pioneering the development of audio applications for live (realtime) performance, as well as developing the first audio effects plug-ins for Apple’s Mac OS X, the company created some of the first plug-ins for Power|Core, TC Electronic’s hardware-accelerated DSP platform, prompting the Danish developer’s then-PR Manager Thomas Valter to comment, “Our two companies have been working closely together on various projects, and we are very satisfied with the products that have been a result of our cooperation.” Consequently, the company returned to its host application and audio effects developmental roots in 2007 by branding itself with the Audiffex appellation to resourcefully reflect that directional change with an award-winning array of innovations, including MixChecker — a must-have mixing assistant plug-in that transforms studio monitors into classic reference monitors or one of several consumer devices to instantly improve mixes. Moreover, Audified is not just a for-profit business, however; its parental company clearly cares about the future of audio software/hardware development, developing partnerships with both Janacek Academy of Music and Performing Arts (JAMU) in Brno, Czech Republic — realising a research project to bring modern audio engineering technologies to music education, and also Brno University of Technology, one of the Czech Republic’s leading research and teaching institutions — working with the Faculty of Electrical Engineering and Communication Technologies on scientific projects. Participating in organising entry exams and teaching at these highly-respected higher education establishments has helped establish the first specialised studies of audio engineering in the Czech Republic. In keeping with spreading the (audio engineering) word, Audified has helpfully seen fit to recently release a range of free plug-ins, available from here: http://shop.audified.com/collections/products/free#tags 

© 2017 Audified

Spitfire Audio celebrates tenth year in business by announcing associated ALBION ONE orchestral sample library update

Spitfire Audio is proud to announce availability of ALBION ONE 10TH ANNIVERSARY EDITION — effectively celebrating its tenth year in business by refreshing and rebadging its ALBION ONE epic composer toolkit flagship as an updated edition, expanded beyond the British music technology company’s relatively recent ‘ONE’ re-recordings of its initial ALBION ‘legacy’ sample library release thanks to a new UI (User Interface) design, NKS™ (NATIVE KONTROL STANDARD) support, 15 new Albion Orchestra patches, punchier mixes of Darwin Percussion, plus 63 new Stephenson’s Steam Band sounds and 67 presets personally created by Spitfire Audio co-founder and composer Christian Henson himself alongside 78 new Brunel Loops recordings across 8th, 16th, and 12th rhythmic patterns. 

ALBION ONE 10TH ANNIVERSARY EDITION encompasses everything needed to make music for film. A 109-piece orchestra accompanied by a thunderous cinematic percussion section beats at its musical heart. Helped along still further with warp-able Brunel Loops designed by award-winning music makers — including plentiful presets from Spitfire Audio co-founder and composer Christian Henson himself, plus Stephenson’s Steam Band — a unique and dynamic orchestral synth section also housed within Spitfire Audio’s fully tweak-able eDNA (electronic DNA) engine, it is little wonder that ALBION ONE established itself as Spitfire Audio’s most renowned orchestral sample library like nobody’s business! But because the original ALBION concept was so simple — squeezing everything needed to score a film into a single, unified product — perhaps this should come as little surprise.
Since a large orchestra is at the compositional core of most film scores, Spitfire Audio set about capturing something special to place at ALBION ONE’s musical heart. Collectively convinced that in order to create a first-rate film-scoring tool they should go to where the best film scores are recorded, London’s legendary AIR Studios founded by Beatles-producing genius George Martin more than made the grade. Indeed, its Lyndhurst Hall has been the recording room of choice for Hollywood directors for decades, with notable scores to countless blockbusters being recorded there, including Hans Zimmer’s Interstellar, Danny Elfman’s Justice League, as well as the Harry Potter phenomenon, Pirates Of The Caribbean, Lord Of The Rings, and many more besides. Spitfire Audio’s own ALBION ONE orchestra was recorded by award-winning engineers using rarefied microphones through Neve ‘Montserrat’ preamps, the world’s largest Neve 88R large-format console, and onto pristine two-inch tape before being converted with top-of-their-class Prism A/D (analogue-to-digital) convertors at 96 kHz — no expense spared to capture everything exactly as it would be for the movies.

 Watch Spitfire Audio’s persuasive promo video for ALBION ONE 10TH ANNIVERSARY EDITION
 
Musicality and technicality, of course, go hand in hand. Having assembled 109 of London’s finest players already well versed in Oscar-winning film score sessions and major global concert performances, Spitfire Audio’s ALBION ONE production team then captured them performing a range of techniques — long notes, short notes, tremolos, pizzicatos, and so on — across a range of notes, and also by section (Brass Low, Mid, and High; Woods High and Low; and Strings) to ultimately provide its users with the flexibility to program or perform their own orchestral compositions with an abundance of control options. As such, Spitfire Audio’s acclaimed ‘legato articulations’ (which combine adjoining samples to magnify musicality) and ‘runs’ (where a single note triggers the recording of a section playing phrases) play an integral part in making ALBION ONE sound so realistic. Furthermore, four mic positions — C (close), T (tree), O (outriggers), and A (ambient) — are available to load and mix to suit the type of music being composed and the scale that the composer wants to achieve. Spitfire Audio also provides an ‘ostinatum’ designer to allow adventurous users to instantly create exciting, tense, or action-packed passages.

 Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s
ALBION ONE 10TH ANNIVERSARY EDITION ‘In Action’
 
Percussive, rhythmical accompaniment also adds to most films scores, so, similarly, ALBION ONE 10TH ANNIVERSARY EDITION encompasses everything needed to build a scoring backbone with its Darwin Percussion section spanning gentle undertones to full-scale mega hits. Hi sticks to low taikos and toms, plus newly-added, supercharged Easter Island hits — some in sections, some solo with a dash of blockbuster-style hyped percussion thrown in for good measure — are all recorded at AIR Lyndhurst Hall, with engineer extraordinaire Jake Jackson’s magical mixes packing a perfect punch.

 Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s
ALBION ONE 10TH ANNIVERSARY EDITION ‘unboxing’ video
 
Percussive enhancement of an altogether different kind continues courtesy of Brunel Loops, a module based on Spitfire Audio’s eDNA engine. Having captured hundreds of raw and warped loops from original recordings made at Spitfire Audio’s own studio facility, featuring percussive heavy-hitter Paul Clarvis (Spectre, The Dark Knight, Star Wars, Harry Potter) playing a collection of unrecognisable relics, it is the perfect tool for sound-mangling mayhem. More meaningfully, Brunel Loops allows two input sources to be warped, sequenced, effected, and blended. And all in sync. So the possibilities for creating unique and distinctive loops are almost boundless. Better still, Stephenson’s Steam Band takes ALBION ONE’s orchestral material and pushes, pulls, stretches, and squishes it beyond recognition using everything from priceless vintage outboard to cheap guitar pedal processing — perfectly bridging the electronic and orchestral realms as an easy-to-use, go-to tool for creating unparalleled pads and extraordinary effects.

Watch Spitfire Audio Director Paul Thomson’s video walkthrough of
ALBION ONE 10TH ANNIVERSARY EDITION’s Albion Orchestra
  Watch Spitfire Audio Director Paul Thomson’s video walkthrough of
ALBION ONE 10TH ANNIVERSARY EDITION’s Darwin Percussion section

What better way to celebrate Spitfire Audio’s tenth year in business as a British music technology company producing high-quality virtual instruments and sample libraries, then, than with ALBION ONE 10TH ANNIVERSARY EDITION. Perfect for first-timers and established composers alike, this industry-standard product is the perfect place to start a film scoring journey to glory. Getting there clearly could not be more musically adventurous, as Spitfire Audio co-founder and composer Paul Thomson testifies: “Everything you need to write epic film music in one box — from roaringly loud to really subtle and quiet.”

Watch Spitfire Audio Director Paul Thomson’s video walkthrough of
ALBION ONE 10TH ANNIVERSARY EDITION’s Brunel Loops section

Watch Spitfire Audio Director Paul Thomson’s video walkthrough of
ALBION ONE 10TH ANNIVERSARY EDITION’s Stephenson’s Steam Band section

ALBION ONE 10TH ANNIVERSARY EDITION can be purchased and digitally downloaded (as 87.3 GB of uncompressed .WAV files, featuring 47,233 samples) for a time-limited introductory promo price of £299.00 GBP (inc. VAT)/$349.00 USD/€349.00 EUR (inc. VAT) until January 11, 2018 — rising thereafter to an MSRP of £399.00 GBP (inc. VAT)/$449.00 USD/€449.00 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/albion-one/
(Existing ALBION ONE owners automatically receive ALBION ONE 10TH ANNIVERSARY EDITION for free while ALBION ‘legacy’ owners can cross-grade now for £99.00 GBP/$99.00 USD/€99.00 EUR.)

ALBION ONE 10TH ANNIVERSARY EDITION needs Native Instruments’ free KONTAKT PLAYER (5.6.8) — included in the purchase — to run as a fully NKS™ (NATIVE KONTROL STANDARD) supporting plug-in instrument for Mac (OS X 10.10, 10.11, or macOS 10.12 — latest update) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated ALBION ONE 10TH ANNIVERSARY EDITION webpage here: https://www.spitfireaudio.com/shop/a-z/albion-one/
 

About Spitfire Audio (www.spitfireaudio.com)
Spitfire Audio is a British music technology company producing high-quality virtual instruments and sample libraries. The company collaborates with the world’s best composers, producers, engineers, and studios to create detailed and realistic recordings of instruments and sounds for use in computer-based music production. Prominent collaborators include Hans Zimmer, Air Studios, Eric Whitacre, and many more.

© 2017 Spitfire Audio Holdings Limited

Antelope Audio ships DISCRETE 8 and DISCRETE 4 mic preamp interface and mic modelling bundles

High-end professional audio equipment manufacturer Antelope Audio is proud to announce that it is shipping its rack-mount DISCRETE 8 Thunderbolt™ USB Interface with 8 Discrete Mic Preamps and desktop DISCRETE 4 Thunderbolt™ USB Interface with 4 Discrete Mic Preamps alongside its equally-groundbreaking EDGE and VERGE modelling microphones as accordingly priced bundles with four famous microphone emulations already available (and many more to follow suit).
Antelope Audio’s rack-mount DISCRETE 8 Thunderbolt™ USB Interface with 8 Discrete Mic Preamps puts a whole new level of sound quality and performance power into the hands of project studio owners and mobile recordists alike. As implied by name, it comes complete with eight console-grade six-transistor discrete microphone preamps; 121 dB dynamic range conversion; and rock-solid, fourth-generation 64-bit AFC (Acoustically Focused Clocking) technology, together with Antelope Audio’s acclaimed Real-time FPGA FX, modelling iconic gear from BAE, Grove Hill, Graf Audio, Lang, and more (for use in the EasyPanel software or any DAW directly, thanks to Antelope Audio’s AFX2DAW plug-in which will soon allow up to 16 channel strips of those Real-time FPGA FX models). Moreover, being based on Antelope Audio’s AFX platform — a rapidly expanding hardware modelling engine — enables DISCRETE 8 to add Accusonic microphone and preamp models (maintaining the advantages of digital control and repeatability of gain levels, guitar amps, and transformer and tube effects alongside a huge selection of classic vintage gear to its recording roster.
Similarly, the desktop DISCRETE 4 Thunderbolt™ USB Interface with 4 Discrete Mic Preamps was developed after Antelope Audio undertook extensive research into illustrious microphone preamp circuitry, applying its famed FPGA (Field Programmable Gate Array) engine effectively to transform its already big-budget-sounding Accusonic preamps into several classic models. Moreover, this takes place in real-time with an authentic response that truly sets it apart. As is the case with its DISCRETE 8 bigger brother, DISCRETE 4 was designed to work with any microphone, yet really shines when working with Antelope Audio’s own EDGE and VERGE modelling microphones — hardly surprising since they were designed to exclusively match the discrete preamp architecture of both audio interfaces.
Indeed, several microphone emulations are already available for use with the EDGE modelling microphone, itself featuring dual edge-terminated capsules for a smooth/natural sound, reproducing the expressiveness and character of costly classic microphones — albeit without excessive expense.

BERLIN 47 FT allows owners of Antelope Audio’s DISCRETE 8 and DISCRETE 4 to authentically access the sound of one of the most popular microphones in the history of audio recording. This emulation encapsulates the wide dynamic range and meticulous attention to detail of the hardware original. As such, it is perfectly suited to capturing vocals, acoustic instruments, and also more aggressive sound sources, such as kick drums.

BERLIN 67 carries with it the true sound of an iconic tube condenser microphone with multiple (cardioid, omni, and figure eight) polar patterns, popularised as a result of its signature sound and adaptability. Following in those flexible footsteps, BERLIN 67 is a powerful, multi-purpose tool that is a must-have for any studio setup.

BERLIN 87 is the go-to microphone when it comes to recording brass sections, guitars, overheads, piano, percussion, strings, and vocals. Having helpfully transported the Seventies-vintage classic from the good old days to truly 21st Century studio setups, there’s almost nothing that BERLIN 87 cannot capably handle. Since studio pros cannot live without the German original, isn’t it about high time that DISCRETE 8 and DISCRETE 4 owners got in on the recording act as well?
 Watch Antelope Audio’s informative introductory DISCRETE 8 video

Last but (soon to be) not least, ever wondered what lies behind those silky, smooth vocals on your favourite records? Chances are that it’s the same Japanese microphone classic that Antelope Audio modelled its TOKYO 800T after. After all, the vintage tube mic in question is a top choice for many masters of vocal recording. With a super-low noise floor and extreme sensitivity, it’s also a perfect fit for recording acoustic guitar sessions.

Soon to become available are several more microphone models for EDGE as well as a notable number of classics for VERGE — visibly differing as a small-diaphragm condenser (back electret-type) modelling microphone suited to both nuanced accuracy and high SPL (Sound Pressure Level) recording. Also exhibiting excellent performance in its own right, VERGE can capably take on the character and personality of the world’s best small-diaphragm condensers and electrets.

 Watch Antelope Audio’s informative introductory DISCRETE 4 video

Even more is to come, courtesy of those trailblazing microphone emulations eventually working through the EDGE and VERGE modelling microphones when paired up with other members of Antelope Audio’s growing family of Thunderbolt™ and HDX audio interfaces. Right here, right now, though, the rack-mount DISCRETE 8 Thunderbolt™ & USB Interface with 8 Discrete Mic Preamps and desktop  DISCRETE 4 Thunderbolt™ & USB Interface with 4 Discrete Mic Preamps are already shipping and available as a perfect fit for the high-end professional audio equipment manufacturer’s microphone modelling technology.

Antelope Audio’s rack-mount DISCRETE 8 Thunderbolt™ USB Interface with 8 Discrete Mic Preamps is now available as an integral part of various bundles — namely, the DISCRETE 8 Basic Pack (permitting use of two channel strips with four instances of effects each from the Basic FX library featuring 50-plus Real-time FPGA FX models) for €1,295.00 EUR or DISCRETE 8 Premium Upgrade Pack (permitting use of eight channel strips with four instances of effects each from the Premium FX library featuring 50-plus Real-time FPGA FX models and up to 16 channel strips using the new AFX2DAW plug-in) for €1,995.00 EUR. Alternatively, the DISCRETE 8 Premium Upgrade Pack is also available additionally bundled with one EDGE modelling microphone, six VERGE modelling microphones, and a Mic Emulation library for €2,995.00 EUR. For more in-depth information, please visit the dedicated DISCRETE 8 webpage here: http://en.antelopeaudio.com/products/discrete-8/

Antelope Audio’s desktop DISCRETE 4 Thunderbolt™ USB Interface with 4 Discrete Mic Preamps is now available as an integral part of various bundles — namely, the DISCRETE 4 Basic Pack (permitting use of two channel strips with two instances of effects each from the Basic FX library featuring 50-plus Real-time FPGA FX models) for €899.00 EUR or DISCRETE 4 Premium Upgrade Pack (permitting use of four channel strips with four instances of effects each from the Premium FX library featuring 50-plus Real-time FPGA FX models and up to 16 channel strips using the new AFX2DAW plug-in) for €1,399.00 EUR. Alternatively, the DISCRETE 4 Premium Upgrade Pack is also available additionally bundled with one EDGE modelling microphone and a Mic Emulation library for €1,995.00 EUR. For more in-depth information, please visit the dedicated DISCRETE 4 webpage here: http://en.antelopeaudio.com/products/discrete-4/


More info about Antelope Audio’s FPGA effects, including a full library list, can be found here: http://antelopeaudio.com/hardware-based-fpga-effects/
About Antelope Audio (www.antelopeaudio.com)
Antelope Audio is a leading manufacturer of high-end professional audio equipment, pioneering the adoption of atomic clock generators in audio master clocks through utilising CEO Igor Levin’s 25-plus years of experience in digital audio. Antelope was the first company to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. The company’s customers include many GRAMMY® award-winning sound engineers and some of the most renowned recording, mastering, and post-production facilities around the globe.

  © 2017 Antelope Audio

Thursday, 14 December 2017

Eventide announces availability of Anthology XI as ‘everything’ bundle breakthrough

Recording technology trailblazer Eventide is proud to announce availability of its ‘everything’ plug-in bundle, Anthology XI.
Anthology XI includes all 17 plug-ins from Eventide’s acclaimed Anthology X bundle, but brings six of its latest and greatest hits to the creative collection. With the welcome addition of Blackhole, Fission, Tverb, UltraTap, MangledVerb, and 2016 Stereo Room, that’s 23 timeless tools that inspire, running the gamut from groundbreaking innovations like the TEC Award-nominated Fission — the first product to feature Eventide’s seminal STRUCTURAL EFFECTS method to split sound into its transient and tonal parts — to emulations of the trailblazing company’s legendary rack-mount effects. Everything.
 Anthology XI accesses all areas of Eventide’s evolution…

FX:

* Fission — split sound into transient and tonal parts
* UltraTap — rhythmic delays, glitchy reverbs, huge pad-like volume swells…
* H3000 Factory — load presets from the original H3000 or build your own
* H3000 Band Delays — eight, highly-customizable delays
* Octavox — eight voices of diatonic pitch shifting
* Quadravox — four voice, lower CPU footprint


Reverb:

* Blackhole — extraterrestrial reverb
* Tverb — Tony Visconti-inspired triple reverb
* MangledVerb — good reverb gone bad
* 2016 Stereo Room — classic SP2016 sound
* UltraReverb — DIY pro-reverb effects channel


Clockworks Legacy:

* H910 — original Harmonizer® and first digital effects processor
* H910 Dual — two H910s cunningly ganged
* H949 — deglitch, micro pitch, and randomized/reversed delays
* H949 Dual — two H949s cunningly ganged
* Omnipressor — comp/exp/limiter/reverse dynamics with side chain!
* Instant Phaser — world’s first studio phaser
* Instant Flanger — first faithful simulation of tape flanging


Utilities:

* UltraChannel — ultimate channel strip
* EChannel — simpler, lower CPU footprint
* Precision Time Align — precision sub-sample delay
* EQ45 — circuit model of the Urei 545 parametric EQ
* EQ65 — circuit model of the Urei 565 filter set


Anthology XI comes complete with more than 2,900 presets across the 23 plug-ins, many created by acclaimed artists and engineers like Dave Pensado, George Massenburg, Tony Visconti, Vernon Reid, Richard Devine, Joe Chiccarelli, Roy Hendrickson, Alessandro Cortini, Andrew Scheps, Erin Tonkin, Jonathan Schenke, Robin Finck, Chuck Zwicky, and Suzanne Ciani.

 Watch Eventide’s enticing Anthology XI video playlist here

Concludes Eventide Director of Marketing Communications Nalia Sanchez: “For over 45 years, audio pros have turned to Eventide for professional tools that inspire. Now everything — all of our effects — are in one big bundle that includes our latest and greatest hits. For example, there’s an authentic emulation of our H910, pro audio’s first digital effects box whose unique sound inspired all sorts of mischief. We meticulously modeled the analog subtleties, and the plug-in sounds like the original. And, while we’re committed to the authentic recreation of our legendary hardware, we’ll always strive to break new ground. Fission is the latest case in point. It’s nominated for a TEC Award, and, to quote one reviewer, ‘Eventide wants to change how you think about processing audio…’ True enough. Always have, always will.”

Anthology XI’s 23 plug-ins — available as AAX/AU/VST formats for Mac OS X 10.7+ and Windows 7+ (with no iLok dongle required) — represent a combined value of over $3,500.00 USD if purchased individually. The bundle can be purchased at an introductory price of $899.00 USD. Upgrades from Anthology X and from individual Eventide plug-ins are also available. Sale ends January 11, 2018. MSRP thereafter is $1,799.00 USD. For more in-depth info, upgrade pricing, and a fully-functional 30-day demo version, please visit: https://www.eventideaudio.com/promo/anthology_xi 
About Eventide (www.eventideaudio.com)
Since 1971, Eventide has remained at the forefront of recording technology. In 1975 it revolutionized the audio industry by creating the world’s first commercially available digital audio effects unit, the H910 Harmonizer®. Since then, its legendary studio processors, stompboxes, and plug-ins have been heard on countless hit records.
© 2017 Eventide Inc.

Wednesday, 13 December 2017

Saal Digital photobook - quick video overview

Hi, in the recent past I've used the printing service of Saal Digital, Europe based printing company, to realize the Dcsi Production insignia on a PVC panel. you can see in this video here.

Few weeks ago I needed to realize a photo book pretty quickly, containing some pictures of random paintings of my father (a more than 6 decades long painter, now in retirement) and as their online printing service is very good I got the chance to test again their products .

Of course I've been again totally satisfied and as a little token of my gratitude here's a short video overview.

Please consider at the moment I took the picture of the photo book and shot this little video I had around only a tablet therefore the clip "is what it is" image quality wise.
But I reassure you the product itself I personally tested is of very good quality, as well as the service provided by Saal Digital.

Thanks for watching.

Diego - DCSI Productions

 


related links:

http://www.saal-digital.co.uk/
http://www.saal-digital.com/

http://callegaripainter.altervista.org/


Tuesday, 5 December 2017

FabFilter releases FabFilter Pro-L 2 true peak limiter plug-in

FabFilter is proud to announce availability of FabFilter Pro-L 2, a major update to the Pro-L limiter plug-in. With four brand-new limiting algorithms, a new true peak limiting mode, extensive standards-compliant loudness metering, surround support, and many other new features, Pro-L 2 improves on its predecessor in every way while staying true to the original vision of unparalleled simplicity and effectiveness.

New limiting algorithms
 
FabFilter Pro-L 2 introduces four new limiting algorithms. Modern is the new ‘best for all’ algorithm that produces even better results than the Transparent and Allround algorithms from version 1. Aggressive is great for maximum loudness — well suited for EDM or rock music. Bus has been designed specifically for drums and limiting of individual tracks, while Safe’s goal is not maximum loudness, but to avoid distortion at all times.


True peak limiting and loudness metering

The new true peak limiting feature in FabFilter Pro-L 2 makes it extremely easy to hit a maximum true peak target. Just set the output level to the desired value, enable True Peak Limiting, and that’s it! Combined with improved true peak metering and extensive loudness metering that’s compliant with the EBU R128, ITU-R BS.1770-4, and ATSC A/85 standards, Pro-L 2 is the perfect fit for any loudness normalization job.

Advanced processing

Complete support for surround audio with flexible channel linking makes FabFilter Pro-L 2 much more versatile in multi-channel scenarios, while the sound quality is even higher than before with up to 32x linear-phase oversampling. New features like a DC offset filter, external side chain triggering for stem mastering, and a Unity Gain option ensure that Pro-L 2 is the solution to any mastering challenge.

Interface enhancements

The unique real-time level display is now even more effective with new innovative display modes, including an Infinite mode that shows all audio for an entire session. Moments of significant gain reduction are highlighted with peak labels to give additional insight in the limiting process. Last but not least, the interface has been carefully redesigned to be aesthetically pleasing with a perfectly optimized workflow.

Key features:

* Great transparent sound combined with maximum loudness.
* Eight sophisticated, carefully tuned limiting algorithms, all with their own character and purpose.
* True peak limiting.
* Up to 32x linear-phase oversampling to minimize aliasing and inter-sample peaks.
* Low CPU usage.
* Highly accurate output and gain reduction metering, including true peak metering.
* Extensive loudness metering with support for the EBU R128, ITU-R BS.1770-4, and ATSC A/85 standards.
* Various meter scale settings, including K-System support.
* Surround support, including Dolby Atmos 7.0.2 and 7.1.2 formats with flexible surround channel linking.
* Unique, highly-informative real-time level display, showing input, output, gain change, and loudness levels over time with key gain reduction readings and four different display modes.
* Optional DC offset filter.
* External side chain triggering for stem mastering.
* Unity Gain option to easily listen to the effect of the current limiting at unity gain level.
* Audition Limiting option to listen to the difference between the input and output signal.
* Adjustable Look-ahead, Attack, and Release settings to fine-tune the sound of the algorithms.
* Separate, freely-adjustable channel linking for both the transient and release stages.
* Professional dithering with three different noise shaping algorithms.
* Easy to set up for common limiting situations with the included factory presets.
* Adapts automatically to stereo, mono, and surround channel layouts.
* Full Screen mode for precise adjustments and insightful metering.
* Multiple interface sizes: Small, Medium, and Large, as well as a separate Compact mode.
* Retina support on OS X and High DPI support on Windows.
* GPU-powered graphics acceleration.
* Supports common Pro Tools hardware control surfaces.

FabFilter Pro-L 2 is now available for EUR 169, USD 199 or GBP 149, supporting both Windows and macOS in VST and VST 3, Audio Units, AAX, RTAS, and AudioSuite plug-in formats. Bundles with FabFilter Pro-L 2 and other FabFilter plug-ins are also available at: www.fabfilter.com/shop

Existing FabFilter customers can purchase or upgrade to FabFilter Pro-L 2 with very attractive discounts by logging in to their online user account at: www.fabfilter.com/myaccount

System requirements on Windows are either Windows 10, 8, 7, Vista or XP and a VST 2/3 host or Pro Tools, or Mac OS X 10.6 or higher with Intel processor, and an Audio Units host, VST 2/3 host, or Pro Tools. Both 64-bit and 32-bit hosts are supported.


About FabFilter
Beautiful sound. Fantastic workflow. These are the foundations of FabFilter. Continually challenging and rethinking industry standards, FabFilter creates powerful audio plug-ins with superb sound quality and innovative interfaces. FabFilter was founded in 2002 by Frederik Slijkerman and Floris Klinkert, and is based in Amsterdam, The Netherlands.

© 2016 FabFilter Software Instruments

Sunday, 3 December 2017

Impact Soundworks spreads VENTUS ETHNIC WINDS wings with deeply-sampled ocarinas VI experience

Audio software creator Impact Soundworks is proud to announce availability of VENTUS ETHNIC WINDS - OCARINAS — the latest (fifth) release in its VENTUS ETHNIC WINDS series of deeply-sampled solo ethnic woodwinds virtual instruments, this time representing the most deeply-sampled selection of (Costa Rican Pendant, Triple, and Chinese Xun) ocarinas yet seen and heard in Native Instruments’ industry-standard KONTAKT platform anywhere.
A typical dictionary definition of an ocarina is a small egg-shaped ceramic — especially terracotta — or metal wind instrument with holes for the fingers. While the word itself journeyed from Italy in the late 19th Century — from oca (goose) due to its waterbird-like shape, Costa Rican Pendant Ocarinas originate from the time of the Incas and were used as instruments for festivals, rituals, and ceremonies; they usually have eight or nine holes and are often shaped like animals — as evidenced by the toad-like one deeply sampled by Impact Soundworks for VENTUS ETHNIC WINDS - OCARINAS. Continuing to travel — truly in keeping with the VENTUS ETHNIC WINDS series’ design concept of transporting adventurous users on an exotic musical journey around the globe, capturing the tones of pleasingly performed solo instruments outside of the Western repertoire, the Triple Ocarina is a multi-chambered ocarina with a broad range of around two octaves plus a fifth, while the Chinese Xun is an ancient egg-shaped aerophone that dates back 7,000 years and was used primarily in the performance of palace music.
In the process of capturing those endearingly exotic instruments, Impact Soundworks explored the full range of playing techniques — tapping into the talents of New York-based composer, arranger, and saxophonist woodwind player par excellence Josh Plotner — to enable VENTUS ETHNIC WINDS - OCARINAS users to make musical KONTAKT in many more ways than one… from expressive sustains, vibrato, flutters, and accents, to staccato notes and bends, pitched release articulations, and special extended techniques. The instruments involved feature either 11 or 13 articulations paired with a combined total of over 900 phrases, performed in a variety of unique and inspiring styles and lengths. These can be used within the KONTAKT instrument itself, or loaded as WAVs (Waveform Audio files) in a DAW (Digital Audio Workstation) for further slicing, editing, and arrangement.

As is the case with its VENTUS ETHNIC WINDS series siblings, each VENTUS ETHNIC WINDS - OCARINAS instrument shares several key features, together with a common user interface, so that transitioning from working with, say, VENTUS ETHNIC WINDS - PAN FLUTES first before moving on to VENTUS ETHNIC WINDS - OCARINAS keeps creativity flowing… which is exactly as it should be.

 Watch Impact Soundworks Lead Developer Andrew Aversa’s adventurous
VENTUS ETHNIC WINDS - OCARINAS video walkthrough

Better still, VENTUS ETHNIC WINDS - OCARINAS boasts Impact Soundworks’ original Ornaments System, designed to automagically create decorative techniques in realtime without manually sequencing key switches or CC (Control Change) data. When enabled using the onscreen ORNAMENTS knob, they can be played back at random, ignoring normal articulation mapping, triggered separately from the Articulations tab. That being said, an articulation can be used as an ornament, and not triggered elsewhere, or vice versa.

Versatility and additional ease of use comes courtesy of Impact Soundworks’ proprietary TACT (Total Articulation Control Technology) to unify and simplify the process of creating personal mapping setups for each and every instrument. Indeed, inclusion of some serious phrase playback editing scripting alongside two mic positions and a whole host of controls to tweak things further still, such as Impact Soundworks’ simple-to-use FX rack — replete with an analogue-modelled parametric EQ, COMPRESSOR, DELAY, and convolution REVERB — reassure that VENTUS ETHNIC WINDS - OCARINAS is a surefire source of infinite inspiration… just like its VENTUS ETHNIC WINDS series siblings that flew (off the sampling shelves) before it!

VENTUS ETHNIC WINDS - OCARINAS can be purchased and digitally downloaded (as a 7GB library totalling 5,500-plus 24-bit samples) directly from Impact Soundworks for $99.00 USD from here: https://impactsoundworks.com/product/ventus-ethnic-winds-ocarinas/#purchase (Different discounts are available to owners of other VENTUS ETHNIC WINDS libraries, depending on how many libraries are already owned.)

The first five VENTUS ETHNIC WINDS releases are available as a combined bundle for $349.00 USD — representing a 30% saving over purchasing each library individually — directly from Impact Soundworks here: https://impactsoundworks.com/product/ventus-1-5/#purchase
Note that VENTUS ETHNIC WINDS - OCARINAS requires the full version of Native Instruments KONTAKT (5.5.2 or higher).

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated VENTUS ETHNIC WINDS - OCARINAS webpage here: https://impactsoundworks.com/product/ventus-ethnic-winds-ocarinas/
About Impact Soundworks (www.impactsoundworks.com)
Impact Soundworks creates audio software designed with composers in mind: sample libraries, virtual instruments, and plug-ins. As passionate about creating music tools as its customers are about making music, the company was founded in 2008 by composers Andrew Aversa and Will Roget, II at a time when there were several large virtual instrument companies already around, but few developers creating affordable, flexible, and focused libraries featuring more unusual and unique sounds. Shrewdly, the dynamic duo noticed much in the way of in-depth orchestral offerings, but more unusual instruments were not being sampled with much detail at all. As such, the company’s first two releases were Impact Steel, a collection of found metal objects played as percussion, and Sitar Nation, a set of instruments from North India. It has since been collectively working hard to address the needs of modern composers, successfully striking the balance between depth and ease of use. Ultimately, Impact Soundworks is proud to call tens of thousands of musicians around the world its customers, intelligently investing time to study suggestions and review requests. After all, that is how a number of its best-loved libraries started… from the smallest seed!
© 2017 Impact Soundworks

Friday, 24 November 2017

Rob Papen produces bigger booms and shake-shake-shake the rooms with SubBoomBass 2

“I've loved SubBoomBass from the start — instant access over lots of great-sounding deep basses that immediately sit nicely in the mix! A must-have for every dance producer!” - Tom Holkenberg (a.k.a. Junkie XL), composer/producer (Mad Max: Fury Road, Deadpool), 2017 

Virtual instrument and effect plug-in developer Rob Papen Soundware is proud to announce availability of SubBoomBass 2 — succeeding the award-winning, self-explanatory floor-shaking SubBoomBass soft synth with the original (often) bass-heavy presets all present and accounted for alongside an abundance of new features and new sound colours to take things closer to the (cutting) edge.
It is immediately obvious to the naked eye that SubBoomBass 2’s GUI (Graphical User Interface) is on the receiving end of a musical makeover making for more comfortable control of all its fanciful features. Fortunately for fans of the original soft synth, SubBoomBass 2 retains its much-loved modelled analogue waveform-driven warmth, but brings into being a brave new world of new sound colours courtesy of supplemental spectrum waveforms, with high-quality thinking outside of the box-style samples sitting alongside a welcome inclusion of Karplus-Strong string synthesis — a method of physical modelling synthesis that loops a short waveform through a filtered delay line to simulate the sound of a hammered or plucked string or some types of percussion. Put it this way: with so much musical firepower placed at adventurous users’ fingertips, SubBoomBass 2 surely sets loose some seriously fresh-sounding and hitherto unheard sounds… above and beyond the (arguably) restrictive realms of dance production with which SubBoomBass first found its musical mark so beautifully.

 Watch Rob Papen’s riveting SubBoomBass 2 introductory video

But, Rob Papen being Rob Papen, there is so much more to SubBoomBass 2 than might first meet the eye… enter an X/Y screen (which will already be familiar to owners of the company’s critically-acclaimed BLUE-II and RAW soft synths both designed differently for different musical motivation in mind); access an all-new SEQUENCER (capable of running four patterns); plus an easy-to-use BANK MANAGER (with ‘star’ feature for speedily searching for favourites — whether user-created or one of the trademark Rob Papen professionally-programmed presets presented in their thousands). Speaking of which, all of the original SubBoomBass (sometimes) bass-heavy presets are all present and accounted for, so SubBoomBass 2 can capably boom and shake-shake-shake the room with the very best — bigger and better than its predecessor, possibly!

SubBoomBass 2 allows anyone to creatively compliment any style of contemporary music at any time — whether working on video game or film scores, or anything in between and beyond. After all, fellow high-flying Dutchman and original SubBoomBass supporter Tom Holkenberg (a.k.a. Junkie XL) started out on the dance floor, fraternising with worldwide chart positions, and ended up on the big screen as a hotshot Hollywood film scorer. Similarly, SubBoomBass 2 is surely set to become another success story for Rob Papen. Anything is possible… just ask Junkie XL!

SubBoomBass 2 can be purchased in a boxed edition — as an AAX (32-/64-bit), AU (32-/64-bit), VST (32-/64-bit) compatible audio software plug-in for Mac OS X (10.6 or higher) and Windows (Vista, 7, 8, and 10) — from authorised Rob Papen dealers worldwide or as a download directly from Rob Papen for €99.00 EUR/$99.00 USD from here: https://www.robpapen.com/buy-subboombass-2.html (Owners of SubBoomBass are eligible to upgrade to SubBoomBass 2 for €39.00 EUR/$39.00 USD, while SubBoomBass 2 is included in eXplorer4, the latest incarnation of Rob Papen’s all-encompassing software bundle, so owners of eXplorer4 can download the SubBoomBass 2 installer for free.)

For more in-depth information, please visit the dedicated SubBoomBass 2 product webpage here: https://www.robpapen.com/subboombass-2.html
About Rob Papen (www.robpapen.com)
Self-confessed synth freak and world-renowned sound designer Rob Papen started working with synthesizers at the tender age of 15 when purchasing an analogue Korg MS-20 semi-modular monosynth and accompanying analogue SQ-10 sequencer. Suitably inspired, he subsequently released several albums as part of Dutch electronic music groups Peru and Nova — the latter featuring the same members as Peru, but with a more commercial slant — with whom he enjoyed number one hit singles in The Netherlands (Nova) in 1982 and Austria (Peru) in 1988. Peru disbanded in 1993, by which time Rob had already established himself as a sought-after sound designer, creating presets for the likes of Waldorf, Access, Ensoniq, and E-mu, before going on to found his namesake company in pursuit of creating a sound designer’s dream synth. That software dream soon became reality when Rob formed the RPCX (Rob Papen ConcreteFX) partnership with music software developer Jon Ayres to develop new Rob Papen virtual instruments and effects plug-ins, starting with BLUE — an exciting-sounding, self-styled ‘Crossfusion Synthesis’ affair (combining FM, Phase Distortion, Wave Shaping, and Subtractive synthesis into one powerful dream synth) — in 2005. Today Rob Papen soundware defines cutting-edge contemporary music production: powerful virtual instruments and plug-ins that intermix innovative design, uncompromising sound quality, and musical, production-grade presets to make tracks truly shine, whatever the musical genre… Inspiration Soundware, indeed!

© 2017 Rob Papen Inspiration Software

Wednesday, 22 November 2017

Touch Innovations brings back single-license purchase pricing for customisable multi-touch controller software

Physical hardware touch technology and cutting-edge software specialist Touch Innovations is proud to announce that it has brought back single-license purchase pricing for Emulator 2 — its critically-acclaimed customisable multi-touch controller software for any MIDI (Musical Instrument Digital Interface) application — having opted out of the unpopular subscription model by popular demand.

Not to be confused with E-mu Systems’ second trailblazing Eighties-era hardware sampler, Touch Innovations’ innovative Emulator 2 really represents a license to dream — albeit now no longer holding its users to the unpopular subscription pricing model, making it perfectly possible for them to create their dream controller for any MIDI application by bringing about a multi-touch experience with everything and anything available at their fingertips. For Emulator 2 includes all standard objects like sliders, knobs, modulation pads, encoders, buttons, and much more besides. But best of all, as each and every component is fully customisable, creativity is effectively only limited by the user’s imagination… and, of course, the software being controlled.

Fully redesigned and re-engineered for flexibility and ease, Emulator 2’s new, improved and intuitive editor for Mac (OS X 10.11 Yosemite or higher) and Windows (8, 8.1, or 10) allows anyone to create custom interfaces in a matter of minutes. Make one from scratch or choose from Touch Innovations’ inbuilt pre-made templates in the easy-to-use editor. Elsewhere, new capabilities abound, including full-colour palette; MIDI learn; OSC (Open Sound Control) — a protocol for networking sound synthesizers, computers, and other multimedia devices for purposes such as musical performance or show control; and standard keyboard commands. Create template images and full-colour backgrounds with user-friendly navigation and more. Masterpiece creation is now easier than ever — even adding logos, images, and animated GIFs (Graphics Interchange Format)!

Furthermore, Emulator 2 effectively places the software and any touch controller on the same interface using Touch Innovations’ patented technology to enable and merge the native interface of any software with the touch controller. Cleverly, by creating ‘holes’, it allows users to port and stream certain elements of the underlying software that they can then resize and move. That way, users can customise their touch template without affecting the performance of those elements, enabling them to access all the power of their performance tool at a glance in their own way.

Whatever way anyone chooses to work with Emulator 2, their dream interface awaits… as a single-license purchase for only $59.00 USD. Users who create their own touch template using Emulator 2 can even sell their creative works online via Touch Innovations’ Template Library!

Emulator 2 is available for online purchase — and also available as a free trial version —directly from Touch Innovations for $59.00 USD here: https://touchinnovations.com/emulator-2/

For more in-depth information, please visit the dedicated Emulator 2 webpage here: https://touchinnovations.com/emulator-2/

About Touch Innovations (www.touchinnovations.com)
Touch Innovations is headquartered in the heart of Miami, FL, USA, where its expert team of specialists work with the latest touch technology in both physical hardware and cutting-edge software. The trailblazing company entered the electronic music industry in 2009 with one purpose: to give DJs and producers the tools needed to create, express, and explore new musical possibilities. Since then, the company’s products have become fixtures for DJs and producers wanting to set themselves apart in the studio and onstage. The refinement of digital touch screen technology has become the building block of today’s most popular consumer hardware. However, only Touch Innovations has successfully brought that technology to the performance/production artist. The uniqueness of its Emulator software has forever changed the way that modern music is created and performed by enabling ‘touch’ to become the basis for composition and performance. Touch Innovations stands at the forefront of touch technology and remains one of the most influential manufacturers of musical equipment of the last 10 years. It prides itself on creating unique experiences for multi-touch users and will continue to pave new roads for DJs, producers, and musicians while exploring new markets that touch technologies have yet to embrace.

© 2017 Touch Innovations

Tuesday, 21 November 2017

Stenzel and Hicks afford ‘adaptation’ of optical disc-driven sound of Seventies OPTIGAN organ into iOptigan iOS app


Stefan Stenzel, co-founder/CTO (Chief Technology Officer) of German high-quality hardware and software synthesizer brand Waldorf Music, and Pea Hicks, self-styled custodian of all things OPTIGAN for the last 20-plus years, are proud to announce availability of iOptigan — an iOS app ‘adaptation’ of the OPTIGAN, an early-Seventies-vintage chord organ fondly remembered by a faithful few for its unique system of sound reproduction using optical discs.
 
The long and winding road to bringing iOptigan to today’s technologically-inspiring iOS platform — producing an app compatible with Apple’s ubiquitous iPhone, iPad, and iPod touch (requiring iOS 8 or later) — effectively dates back to the early-Seventies when Optigan Corporation introduced its namesake OPTIGAN to the wider world. What on earth is an OPTIGAN, though? The OPTIGAN — or OPTIcal orGAN — was a kind of chord organ, as implied by (its full) name. Needless to say, it was set up like most home organs of the time — a small keyboard with buttons on the left for playing various chords, accompaniments, and rhythms. That being said, what truly set the OPTIGAN apart from the rest of its contemporaries was that its sounds were read off LP-sized celluloid discs containing the graphic waveforms of real instruments at a time when organs still produced sounds electrically or electronically with tubes or transistors. Therefore, like the Mellotron and Chamberlin before it, the OPTIGAN really represented an early form of sampling technology, though, unlike its tape-based predecessors, the OPTIGAN’s ‘software’ came in the form of those LP-sized celluloid discs, optically encoded with 57 concentric rings of film-style soundtrack — same technology as film soundtracks of old, in fact. For the benefit of those that remember the sequence in Walt Disney Pictures’ 1941 animated feature film Fantasia where the ‘Soundtrack’ makes a cameo appearance, those squiggly lines are actually pretty close to what the real thing looks like.
But back in the wonderful world of OPTIGAN technology, the sound loops on each of those discs represented actual studio recordings of musical combos playing chord patterns in different styles that could be triggered by the instrument’s chord buttons and keys. Each disc contained a specific style of music, such as bossa nova or big band, which the user could control. Changing discs was as simple, say, as putting a new record on a turntable. Think of it as 1971’s answer to GarageBand — somewhat ironic, perhaps, given its future ‘connection’ to those inspiring iOS products. Put it this way, though: the irony is not lost on Pea Hicks, self-styled custodian of all things OPTIGAN for the last 20-plus years, who readily admits, “The result was pretty crappy sounding and soon forgotten by the world at large.”

Indeed, its novel technology, and the lo-fi, scratchy sound quality of the OPTIGAN and the inherent unreliability of the hardware itself left a lot to be desired. By the late-Seventies, the digital writing was on the wall with the severe limitations of optical sound reproduction rendering the OPTIGAN — and its close cousins, the Vako Orchestron (put to good use by German electronic music icons Kraftwerk on their trailblazing Radio Activity and Trans-Europe Express albums) and Chilton Talentmaker — ‘obsolete’. Of course, what goes around comes around. As prophetic, pioneering ambient music pioneer Brian Eno eerily predicted way back when: “Whatever you now find weird, ugly, uncomfortable, and nasty about a new medium will surely become its signature.”
 Watch the informative introductory iOptigan video here:

Fast-forward to today, then, and those ‘long-lost’ early-Seventies signature — some might say cheesy — sounds of the OPTIGAN are available for all to experience and play in iOptigan, 45 years after the original OPTIGAN first saw the light of day. Indeed, iOptigan authentically recreates the lo-fi, scratchy sound that left so much to be desired all those years ago. All of which rather begs the question: why? Well, today the loop-based paradigm of the OPTIGAN surely seems more appropriate than ever.

Enter an individual who clearly needed no convincing — namely, Pea Hicks. Having acquired his first OPTIGAN in the mid-Nineties — just as the Internet was starting to take hold, he immediately began trying to find out everything he could about the instrument, managing to make contact with many of the people who worked for the company, even. Eventually he got in touch with Mike LeDoux, the individual in charge of making the discs for the OPTIGAN and final custodian of the audio material after the demise of the company, who still had all of the original studio master tapes, which he kindly passed on to Pea Hicks before he himself passed away.

 iOptigan can be purchased and directly downloaded from the App Store for $4.99 USD from here: https://itunes.apple.com/us/app/ioptigan/id1143470101?ls=1

Fortunately for those faithful few, Pea Hicks has maintained the world’s premiere website about all things OPTIGAN (Optigan.com) for 20-plus years. In addition to documenting the history of the instrument, he has also brought it back to the future by providing sample libraries of OPTIGAN sounds, making a series of all-new discs for the original hardware (in collaboration with Robert Becker), and now, with the assistance and expertise of Stefan Stenzel, there is iOptigan!

Stefan Stenzel is better known as CTO of Waldorf Music, so iOptigan was realised as a side project of sorts. Saying that, he had already amassed some serious experience of iOS app development during his ‘day job’ with Waldorf’s Nave, its first synthesizer app for Apple’s all-conquering iPad in June 2013, as well as masterfully migrating its long-running Attack virtual drum and percussion soft synth that took the VST (Virtual Studio Technology) world by storm back in early 2001 to iOS in 2015. Upon reading about the OPTIGAN in 2016 he thought it was a perfect iOS ‘conversion’ candidate. Californian business with Waldorf led to Stefan Stenzel meeting Pea Hicks and the rest, as they say, is history.

Happily, iOptigan is an authentic recreation of the unique user interface and playback characteristics of the OPTIGAN. Unlike a typical sampling keyboard that triggers samples from the start each time a key is played, the OPTIGAN’s disc is in constant rotation, resulting in its keys and buttons simply gating the various sound loops on and off, wherever they happen to be in the one-bar cycle. Anyone wanting to trigger a loop on the downbeat has to watch a flashing metronome light and hit the right button at exactly the right point in time. iOptigan emulates this and all other OPTIGAN quirks perfectly, so an iPad can now serve as a substitute for the OPTIGAN’s left-hand control panel while an external MIDI (Musical Instrument Digital Interface) controller capably handles right-hand keyboard duties. At a pinch, it is also possible to play the keys via an onscreen keyboard.

Key to iOptigan’s authenticity is that all 40 of the original OPTIGAN disc titles are available — all recorded directly from the original discs and hardware, and all in their lo-fi glory. Indeed, iOptigan is not an app for those demanding crystal-clear digital sheen! Since this is 2017 — not 1971, however, iOptigan includes many modern enhancements, such as an onboard sequencer and a variety of MIDI triggering modes. Rounding out the app is a generous helping of original OPTIGAN disc jacket art, the groovy original owner’s manual, and copious quantities of historical/technical notes. Clearly, California proved to be a match made in heaven for Stefan Stenzel and Pea Hicks — history in the (musical) making for today’s technologically-inspiring iOS platform! Put it this way: 1971’s answer to GarageBand now plays perfectly with iOS in the here and now, so get out an iPad and get into the groove and party like it’s… 1971 with iOptigan!

Note that iOptigan comes complete with 25 of the 40 original OPTIGAN disc titles; the remaining 15 are available as In-App purchases, either individually (priced at $0.99 USD apiece) or as the self-explanatory Complete Disc Pak (priced at $5.99 USD).

For more in-depth information, please visit the dedicated iOptigan webpage here: https://www.ioptigan.com

Visit the world’s premiere website about all things OPTIGAN here: http://optigan.com
About Stefan Stenzel
Stefan Stenzel is co-founder/CTO (Chief Technology Officer) of German high-quality hardware and software synthesizer brand Waldorf Music, masterminding Nave, the company’s first app, which has since set a new standard for iOS synths! Early in 2016, he read an article about the OPTIGAN and contacted Pea Hicks with the half-baked idea to make this innovative instrument available as an app. By coincidence they were both in California at the time, so soon met and decided to collaborate on iOptigan.

About Pea Hicks
San Diego-based composer/producer Pea Hicks has been the custodian of all things OPTIGAN for the past 20-plus years. In addition to holding a considerable archive of OPTIGAN materials and ephemera, he also plays in the band Optiganally Yours, featuring the OPTIGAN and related instruments in quirky original pop songs.

© 2017 Stefan Stenzel & Pea Hicks