Minnetonka Audio Software has announced the completion of validation tests on their SurCode for Dolby® E decoder for use within Adobe Systems Incorporated’s new Creative Cloud application suite.
Dolby E is the industry standard system for multichannel digital audio carriage across an asset’s entire post–production life cycle, and SurCode for Dolby E is the Dolby-certified industry benchmark for file-based processing of Dolby E. The 2.1 version of SurCode for Dolby E decoder has passed Adobe’s stringent requirements for compatibility with Creative Cloud’s VST hosting.
The superior Dolby E capabilities of SurCode are now available in Adobe’s benchmark production suite, including Adobe® Premiere® Pro CC and Adobe Audition® CC. SurCode for Dolby E is the only product line that addresses Dolby E workflows across all popular production platforms. SurCode for Dolby E’s support for Creative Cloud joins the existing VST 2.4 plug-in support of other surround–capable hosts, including Fairlight, Nuendo, Pyramix and Sequoia. One license runs SurCode for Dolby E on any and all platforms, including Final Cut Pro and across Avid’s product lines.
As a long standing development partner, Adobe Systems is a pivotal part of Minnetonka Audio’s platform strategy. “Adobe came to us with a request to bring SurCode for Dolby E into the Creative Suite fold,” said Minnetonka Audio president John Schur. “We are excited to be able to validate a Dolby E workflow in Premier Pro CC, strengthening the Creative Suite brand with new post-production capabilities.”
Version 2.1 of SurCode for Dolby E Encoder and Decoder and version 2.0 of SurCode for Dolby E Stream Player are no-cost upgrades for existing license holders, and a how-to video will be available on MASI’s YouTube channel for the Adobe Premier Pro CC use case. The latest releases are available, as individual products and value-focused bundles, through Minnetonka Audio’s international network of resellers and system integrators.
iZotope has licensed multiple audio processing technologies for inclusion in the new Adobe Premiere Pro CC, the video production component of Adobe Creative Cloud.
The industry-leading, cross-platform video editor now features a suite of audio effects including convolution reverb, vocal enhancer, mastering tools, single and multiband compressors, and other audio technologies.
“We’re happy to continue our long-standing relationship with Adobe by making this collection of iZotope tools, currently available within Adobe Audition®, available to Adobe Premiere Pro CC users as well, ” says Scott Simon, Business Development Manager for iZotope. “We’re excited to help even more members of the creative media community enhance their audio.”
“We’re pleased to announce the inclusion of iZotope technology in the new version of Adobe Premier Pro. Adobe Premiere Pro CC offers incredible performance and features for video professionals,” says Simon Williams, Director of Strategic Relations at Adobe. “iZotope’s audio processing is a perfect fit for the growing video market and will enable Adobe Premiere Pro users to use a range of audio tools directly within their post production workflow.”
TC Electronic has teamed up with Adobe to integrate its LoudnessRadar in the next versions of Adobe® Premiere® Pro and Adobe Audition® on a license agreement.
In recent years, measuring audio loudness reliably has become mandatory for content creators. TC Electronic collaborates with Adobe to provide new LoudnessRadar.
The LoudnessRadar builds on TC Electronic’s groundbreaking LM6 Radar Loudness Meter and offers a wide range of loudness measuring tools that are key to content creators delivering for broadcast, film and internet. In short, the LoudnessRadar provides an easy-to-read overview of loudness over time. It displays Loudness History on the revolving radar, Momentary Loudness on the outer ring, True-Peak clips, Program Loudness and Loudness Range in a single view.
“Loudness compliance is a key requirement for content creators today and moving forward,” said Simon Williams, director of strategic relations at Adobe. “Our Adobe Premiere Pro and Adobe Audition users will be able to have access to an innovative and easy-to-use loudness monitoring solution.”
“By adding the LoudnessRadar to the Adobe Premiere Pro toolset, Adobe has made it easy for video editors to get audio standards compliance right. The audio Target is always in sight, and it’s easy for all to balance speech consistently against background sound and foreground music,” says Thomas Lund, HD Development Manager at TC Electronic. “We think audio professionals will be thrilled to have the convenience of an integrated loudness monitoring solution in Adobe Audition.”
Over 25 years later, portions of MIDI introduced early on in the spec remain relevant. And if you want to connect your MIDI-equipped gear to Apple’s iPod touch, iPhone, and iPad mobiles, you will soon have an array of choices.
In iOS 4.2, best known for leveling the playing field between Apple’s handhelds and tablet, you’ll get full-blown MIDI support. It was clear in leaked details from earlier releases that Apple’s Core MIDI framework was finding new life on the mobile OS, but not directly what that would mean for hardware. Now, the hardware picture is clear.
Korg has published a reference schematic for their excellent Monotron analog synth. Folks in the circuit bending community have been hacking this thing since it came out, but now we have a schemo to follow. Yet another tool in the neverending quest for a fat, tasty bassline. r0ck!
Konkreet Performer is a control instrument for live music performance. Its unique and intuitive multi-touch interface reconnects the musician’s actions directly with the music.
Taking full advantage of the possibilities created by the latest multi-touch technology, Konkreet Performer delivers a revolutionary new way to control your DAWs, synthesizers, samplers (anything that receives MIDI/OSC). More than a studio controller, Konkreet Performer has been designed from the ground up to be a superior live performance instrument, bringing the dynamic audio and visual connection between the musician and the audience to the stage.
Konkreet Performer is scheduled for release as an iOS App at the beginning of 2011.
Adobe Audition for Mac, coming in a future release, will bring modern audio post-production to the platform of your choice. Familiar tools for audio editing, multitrack mixing and recording will meet expanded device support, greater workflow flexibility, and optimized performance. Plus, best-of-breed audio restoration tools make it easy to clean up production audio. With the essential tools you rely on for fast-turn projects, Audition for the Mac brings a fresh face to audio post-production.
A public beta of Audition for the Mac is expected for Winter 2010.
Check out this awesomely practical little guitar pick punch. You could buy a huge pile of picks for what it retails for, but then you wouldn't get the satisfaction of creating your own custom picks out of flat pieces of plastic and other pick-worthy scraps you've got laying around.
This past Friday, I posted some samples of a resonant, metallic synth sound I made in Native Instruments FM8. A reader asked if I would post the actual FM8 patch, and I thought, "hey, why not?" As you can hear, the actual patch is a lot more lively and fun to play than the sample. 2 variations are included.
There’s really nothing about this video that isn’t brilliant. Be sure to keep watching for the final line; it’s what I think is a transformative quote about the nature of music production. From Pork Magazine‘s Dick Flash – that outlet is of course better known in the UK than here Stateside. I could say more, but — really, just watch.
Free synth bass Saturday! Just add water! Ok maybe not water, but here are 8 synth bass grooves just waiting for you to add drums, melodies, other parts, etc. Give them a shot, you might find they'll fit into your mix nicely. Or build up something brand new around them! If you make something cool with it, share it with me if possible. No rights reserved on these samples. The number in the track title indicates the BPM.
Amazing collection of live sets collected by +dB. Includes Boards of Canada, Radiohead, DJ Shadow, Flying Lotus, Squarepusher, Jeff Mills, Goldie, Aphex Twin, Autechre, Orb, Amon Tobin… just to name a few!
Peter Kirn takes a more serious look at the Rock Band’s Keytar.
What if a gaping product hole for musicians were filled by a game company instead of a musical instruments company? There’s no need to imagine: pick up the new Rock Band 3 keyboard, and you’ll see what I mean.
This may seem rather useless because Cooledit and Audition come with a built-in Click-Remover, but (!) his plugin is much faster (about 10-15 times on my PC, especially important if you want to digitize a whole vinyl-LP) and it does a much better job at distinguishing between crackles and hard attack sounds (percussions etc.). Also the “amount” slider does a really wonderful job, if you wish you can keep a small amount of crackling so you have the proper vinyl-feeling in your samples. If you sample from vinyl on a regular basis or plan to digitize your vinyl-collection you should really check this plugin out.
ClickFix comes in two versions:
Fast, accurate click removal – ClickFix uses a proprietary statistical technique to locate clicks and pops. It does not employ edge detection or spectral analysis. This special technique results in much faster, more accurate click and pop detection than other methods.
Force Fix – Lets you repair short waveform defects that ClickFix cannot repair automatically, such as tape dropouts. If you prefer to repair clicks individually, Force Fix is ideal.
Presets – ClickFix integrates seamlessly with Adobe Audition. It has easy-to-use presets for immediate results, or you can configure the settings yourself for optimal performance.
On-line Help – You can click the Help button or press F1 for assistance.
Works with Adobe Audition, Cool Edit 2000, and Cool Edit Pro.
ClickFix (full version)
All the features of ClickFix Lite, plus the additional features below.
Real-time Preview – Lets you to listen to the results while you make setting adjustments. ClickFix’s high speed makes this possible.
Keep Only Clicks – Lets you remove the undamaged signal, leaving only the clicks and pops, so you can see and hear what ClickFix would otherwise remove.
Auto/Dynamic Mode – Tells ClickFix to adjust most of the settings automatically. This improves detection and repair, and makes ClickFix even easier to use.
Detection and Repair Controls – When Auto/Dynamic Mode is turned off, these controls let you adjust various detection and repair parameters, giving you full control over how ClickFix detects and repairs clicks.
Musical Transient Rejection – Ensures that ClickFix removes only clicks and pops, and does not dull musical content such as cymbal crashes and brass entrances.
Multi-pass Operation – Ensures that every click and pop is eliminated.
Results Summary – ClickFix can optionally display a detailed summary report after processing completes. Included is the number of clicks repaired, widest click, narrowest click, average click width, and average time between clicks.
ClickFix Lite costs $19 USD, while the full version of ClickFix is $49 USD.
Visit Jeffrey Klein’s ClickFix page for more information, and links to download a trial version of ClickFix.