Results for channel strip

Titled after the Guinness World Record for the shortest song ever recorded (“You Suffer” by Napalm Death), 1.316 Seconds by 9 Soundware is a collection of Sculpture-based Channel Strip setting files for Apple Logic Pro inspired by extreme music.

Combining the string/exciter paradigm of Sculpture with the signal-contorting resources of Logic Pro, the sound set is composed of simulations and abstractions of instrumentation associated with stupendously aggressive, challenging works.

1.316 Seconds is composed of 5 categories, “Down-tuned Guitar”, “Down-tuned Bass”, “Blast Beat”, “Death Growl”, and “Microsong”, each of which consists of 10 Channel Strip settings. Featuring .cst files designed to simulate machine gun-like mechanical riffs, as well as sustained chords, central to the sound set is “Down-tuned Guitar”. When sequenced with consecutive fifths and parallel octaves, using palm mute and sustaining sounds in conjunction, these Channel Strip settings allow for mockups of simple phrases. “Down-tuned Bass” is based on the timbres of grotesquely distorted, droning bass guitars. Similarly, parallel octaves allow for the balance between tonality and cacophony when using these .cst files. The “Blast Beat” Channel Strip settings are abstractions of the blistering noise associated with the drumming technique. While the sound design behind this category is largely conceptual (; not emblematic of drum kits), snare drums can be modeled by layering multiple Channel Strip settings (in particular Blast Beat 08.cst and Down-tuned Bass 09.cst). Comparably nonfigurative, the “Death Growl” noise instruments impressionistically portray guttural vocals. These .cst files are designed for performance in tandem with the modulation wheel. Finally, the “Microsong” Channel Strip settings produce bursts of rhythmic and randomly shifting timbres driven by LFO modulation.

1.316 Seconds is available to purchase for $14.99 USD.

More information: 9 Soundware / 1.316 Seconds

Loopmasters has introduced Logic Mix Essentials Channel Strips, a library for Logic Pro 9 by Colin C from The Cell Studio, featuring 70+ channel strips for audio tracks ranging from Aux Sends, Busses and Output channels.

The collection represents classic strip settings from Colin’s 6 + years of Logic Pro use, along with brand new strips to help any skill level user make their songs more dynamic and professional. Channel Strips cover, single drum processing, drum loops, bass and synth, male and female vocals, along with aux settings, utility/correction, and master output settings.

Colin Cameron Allrich is a world class audio engineer, remixer and musician based out of his Cell Studio in Los Angeles California. Colin spent 6 years with Apple Inc as a certified Logic Pro instructor while maintaining an underground presence within the Electronic Dance community, amassing over 50 production credits on various labels worldwide from Thrive Recordings, Lost Language, and System Recordings.

The library is available to purchase for £19.95 GBP.

More information: Loopmasters / Logic Mix Essentials Channel Strips

Steinberg has announced the upcoming release of Nuendo 6, the latest and most powerful iteration of Steinberg’s state-of-the-art production environment tailored to post and audio production studios.

Timo Wildenhain, product marketing manager at Steinberg, commented: “Nuendo 6 is the culmination of many months of research, development and cooperation. With great new features like our new mixing console, IOSONO’s Anymix Pro, loudness metering and the complete ADR taker solution, we’re sure to have addressed the ever changing needs of Nuendo post-professionals around the globe.”

Among the new features presented in Nuendo 6 is the entirely new mixing console with full-screen mode and scalability, including Insert View for displaying activated insert slots, plug-in and channel search and integrated Control Room. Also on board is the brand-new channel strip boasting high-pass and low-pass filters, a noise gate that supports sidechaining, various compressors and a brickwall limiter. Nuendo 6 comes with the newly designed Channel Settings window providing immediate access to channel parameters, MixConvert v6 for individual downmixing in unprecedented quality and Voxengo’s 64-band CurveEQ. With the IOSONO Anymix Pro 1.3 plug-in, Nuendo 6 now provides automatic EQ and loudness adjustments to surround sound signal panning and allows for quality upmixing up to 8.1 surround sound. Also included are EBU R128 standard compliant loudness metering with RMS metering scales and the Loudness Lane for writing the loudness curve on an individual track while Nuendo’s new ADR taker system offers a comprehensive solution for ADR and language dubbing. Other additions are MemZap to store and recall zoom settings and positioning within the project, VST Connect SE for collaborating over the Internet and Remote Control Editor for easy mapping of effect and instrument parameters to external controllers. Remote Control Editor supports Avid System 5 MC, Avid Artist Series, Mackie Control, WK-Audio ID Console, Yamaha DM2000 and many more. A redesigned user interface, VariAudio 2.0, ASIO-Guard with drop-out prevention algorithms to guarantee optimum performance and a 1.5 GB library by Pro Sound Effects ranging from animal to war effect sounds complement the wealth of features newly introduced to the Nuendo 6 advanced post and audio production system.

Nuendo 6 has been tested on professional HP Z workstations for maximum reliability and certified performance.

Nuendo 6 is at the heart of the Nuage system solution, a novel platform for post-production introduced by Yamaha and Steinberg. The dedicated control surface, audio interface hardware and Nuendo 6 are interlinked to allow for custom configurations.

The optional Nuendo 6 Expansion Kit (NEK) comprises features that turn Nuendo into a fully fledged composing application. Included are the new Chord Track, which detects and modifies the harmony structure of MIDI and audio tracks edited in VariAudio, and Chord Assistant, newly introduced to bridge chords and generate harmonic chord progressions. Further additions are Hermode tuning for dynamic retuning in real time, 300 new instrument sounds for HALion Sonic SE and the Retrologue virtual-analog and Padshop granular synthesizers.

Nuendo 6 and the Nuendo 6 Expansion Kit will be available in the first quarter of 2013 at authorized Yamaha resellers and through the Steinberg Online Shop, for a suggested retail price of 1,699 EUR for Nuendo 6 and 249 EUR for the Nuendo 6 Expansion Kit. Prices including German VAT.

Customers who have activated Nuendo 5 since November 14, 2012, are eligible for a free, downloadable Grace Period update to the latest version. Restrictions may apply.

More information: Steinberg / Nuendo

Steinberg has announced the upcoming releases of Cubase 7 and Cubase Artist 7.

Coming on December 5, 2012, Steinberg is already presenting the unique solutions and enhancements within the latest incarnations of Cubase, the most advanced music production system today.

With an array of Virtual Studio Technology (VST) instruments and effects plus production tools employed by producers around the world, Cubase 7 and Cubase Artist 7 now include the new MixConsole mixer, the newly developed channel strip, Chord Track, significant workflow improvements and integration, new content and much more.

“This time around we focused in on one of the primary features in Cubase: the mixing. The result is the entirely new MixConsole, with never-before-seen transparency, fidelity, and functionality. Thanks to the built-in channel strip modules and their excellent-sounding EQ and dynamics, the days are finally over when we opened five plug-in windows per track to get the mix going. We also took care of many details that’ll make a big difference in time-critical situations, such as the Remote Control Editor, the redesigned Channel Settings window and the track, channel and plug-in finder. Version 7 is our commitment to the professional community and elevates Cubase to the top of every producer’s wish list,” said Helge Vogt, product marketing lead at Steinberg.

Mixing in Steinberg Cubase 7 with the new MixConsole.

Cubase 7 features

• State-of-the-art music production system used by thousands of professionals around the world.
• Award-winning 32-bit floating-point Steinberg audio engine with up to 192 kHz, 5.1 surround, flexible routing and full automatic delay compensation.
• Unlimited audio, instrument and MIDI tracks .
• Superb composing, editing and mixing features with unparalleled multitrack editing and quantizing, take comping and automation tools.
• All-new MixConsole provides the ultimate mixing experience with unmatched flexibility and integrated EQ/Dynamics channel strip modules for epic pro-console sound.
• Comprehensive set of 8 outstanding virtual instruments with over 2,800 sounds, including HALion Sonic SE workstation, Padshop granular synth, Retrologue virtual analog synth, LoopMash 2 and the MPC-style Groove Agent ONE drum machine.
• Complete suite of 66 high-end audio and 18 MIDI VST effect processors, including VST Amp Rack guitar tone suite, REVerence convolution reverb, Voxengo CurveEQ and many more.
• VariAudio for MIDI-style note editing of monophonic audio tracks and automatic voicing harmonization and auto-tuning effect.
• Chord Track for easy chord management and re-harmonizing plus intelligent composing assistance for generating beautiful chord sequences.
• VST Expression 2 for unique instrument articulation management and expression control on single-note level .
• Professional music notation and score printing.
• MediaBay file and preset management system .
• Cross-platform 32/64-bit for Windows and Mac OS X.

Cubase Artist 7 features

• Complete music production system, offering a set of superb audio/MIDI recording, editing and mixing tools.
• Based on proven Steinberg Cubase technology used by professionals around the world.
• Award-winning 32-bit floating-point Steinberg audio engine with up to 192 kHz, flexible routing and full automatic delay compensation.
• Supports 128 MIDI and 64 simultaneous audio tracks .
• Includes 8 outstanding virtual instruments with over 2,400 presets, including HALion Sonic SE workstation, Padshop granular synth and Retrologue virtual analog synth, LoopMash 2 plus the MPC-style Groove Agent ONE drum machine.
• Comes with a suite of 46 audio and 18 MIDI VST effect processors, including Pitch Correct for vocal intonation correction, VST Amp Rack guitar tone suite, Brickwall Limiter and Tube Compressor.
• Chord Track facilitates working with chords in a project context.
• Streamlined score editing feature set.
• MediaBay file and preset management system .
• Project Assistant with dozens of common templates helps getting started quickly.
• Cross-platform 32/64-bit for Windows and Mac OS X Intel.

The Cubase 7 and Cubase Artist 7 full retail versions are available from resellers and through the Steinberg Online Shop from December 5, 2012. The suggested retail price for Cubase 7 is 599 EUR and 299 EUR for Cubase Artist 7. Prices including German VAT.

Customers who have activated Cubase 6.5 and Cubase Artist 6.5 since October 25, 2012, are eligible for a free, downloadable Grace Period update to the latest version.

More information: Steinberg / Cubase

Livid Instruments has announced its new Alias 8 USB powered MIDI controller.

The Livid Alias 8 delivers the quick and dirty control you need in a durable, compact package with high-quality controls. Perfect as a portable mixer control, the Alias 8 is designed to satisfy the essential needs of every studio or a live rig.

Eight “channel strips” of knobs, faders, and buttons, and a full-size master fader easily adapt to traditional mixing. The dual-function encoder makes it easy to change the MIDI channel (up to 15 channels), instantly extending its reach to control more of your software, while always keeping track of any LED feedback on the other channels. The encoder can also be used as a MIDI control for flipping through tracks or adjusting your cue volume – just push the encoder down to change its function.

Alias 8 features

• 8 – 30mm faders.
• 1 – 60mm fader.
• 16 – rotary potentiometers.
• 16 – RGB LED backlit buttons.
• 1- push-button detented encoder.
• 2 analog expansion ports for Livid XPC and DIY controllers (up to 16 additional analog controls).
• 15 banks of control on separate MIDI channels.
• Character display.
• USB powered class-compliant MIDI.
• Crafted by hand in Austin, TX USA.

The Alias 8 is now available to pre-order, priced at $299 USD.

More information: Livid Instruments / Alias 8

D16 Group’s LuSH-101 is probably one of the most anticipated synthesizer plug-in of 2012. Since the initial announcement of the synth (then named Shioiter) over three years ago, it has been a long wait with few progress updates.

With such a long development stage – or rather the general public being in the know so early on – there will always be some hype and (unfounded) high expectations. And sure enough, when LuSH-101 finally arrived the reception was mixed. Some people instantly dismissed it for not emulating the SH-101 faithfully enough, having too many bells and whistles, being a CPU hog, or it just not living up to the “one synth you’ll ever need” tagline. Others have praised LuSH-101′s resemblance to the sounds of the classic Roland synthesizer, or appreciate the additional features included in the plug-in offers.

Though I must admit I have always wanted an MC-202, I am not all that interested in how precise D16 modeled the SH-101. I’ve heard some audio clips comparing the both and it can certainly sound very similar, but LuSH-101 has a lot more to offer than its hardware counterpart.

The multilayer architecture guarantees that both the sound design possibilities and number of unique situations in which LuSH-101 can be used are virtually limitless. Layered sounds can be created simply by assigning the layers to the same MIDI channel; the results can sound as massive as anything imaginable! Assigning the layers to different keyboard zones allows you to create even the most sophisticated splits. Of course, you can always assign the various layers to different MIDI channels for 8-part multitimbral usage. And, virtually any combination of splits, layers, and multitimbrality is possible with just a single instance of LuSH. With each layer working as an independent synthesizer with its own polyphony, parameters, enhanced arpeggiator, and a palette of only the finest insert effects, LuSH-101 can push your creativity to unprecedented levels!

LuSH-101 certainly looks like a vintage hardware synthesizer. Love it or hate it.

Let’s take a quick look at the specs.

LuSH-101 features

• Multi-layer, 8 independent layers (synths) saw, square/PWM, noise oscillators, A sub osc, supersaw, hardsync, multi-mode and passive hipass filters, 2 LFO’s and envelopes, insert effects, mod matrix, and arpeggiator.
• Mixer panel with 11 output busses (8 layers + 3 fx), compressor and EQ for each, and reverb, chorus, and tempo-syncable delay send fx.
• Includes 1,700 presets, with 5 categories (layer, arp, reverb, delay, and global).

First off, let me say that LuSH-101 requires quite a lot of processing power. Even a single layer sound can take up a considerable amount of CPU – especially when using multiple voices – let alone multiple layer sounds. That said, with careful programming and lowering some settings you can still get decent results on older systems like my good old duo core Pentium.

The sound of LuSH-101 starts with the oscillators. These do not necessarily have an “analog” vibe to my ears, but they do have a pleasant high quality sound about them.

Mixing square (pwm), saw, sub and noise oscillators you have a limited palette, but this can actually help you get creative in a “less is more” kind of way.

The hardsync on the square and saw is achieved by using a hidden oscillator. It has its own sound, I quite like it. The saw can also be stacked to create a supersaw. Not my type of thing really, but I hear it’s pretty sweet.

To the right of the source mixer is the filter section, with a multi-mode (lowpass, bandpass, highpass) resonant filter and a passive highpass, which is said to have a characteristic RC analogue filter. The multi-mode filter has two modes:
- Normal: The overall peak volume of the filter output is constant across the Cutoff frequency and Resonance domain and the filter itself is softer in comparison to SH-101 variant.
- SH-101: More unstable and analogue like with faithful emulation of self-oscillations appearing in SH-101.

I have no idea how faithful this emulation is, but the SH-101 mode sounds quite different from the normal one so make sure you give it a try. Note that some filter stepping is audible, and I am not sure if this is intended but it doesn’t bother me to be honest. Two envelopes and two LFO’s are available to control various parameters, including things like pitch, pulse width, and cutoff & resonance of the multi-mode filter.

LuSH-101 offers various trigger modes for its envelopes and LFOs, and a special SH-101 mode can be selected from the options panel. The envelopes are also nice and fast, which is demonstrated by the lovely drum sounds this synth can produce.

Moving a bit further to the right of the interface we find the arpeggiator. This features various modes (up, down, up/down, random, etc), a host of tempo/rates, shuffle, chords, gate and tie sequencer, and more. I tend to do everything in my host, but I have to say an arp like this is easy and fun to use.

To spice things up a bit, LuSH-101 also includes some internal insert effects: Chorus, Flanger, String Ensemble, Phaser, Vowel Filter, Distortion, Decimator, and Tremolo. These are simple, solid effects. I especially like the vowel filter and decimator, and the chorus is great for creating lush sounds. You can currently only select one effect at a time, but note that you can set a different effect for each of the 8 layers.

The mixing panel lets you mix all your layers in channel strips. Each channel comes with a compressor, equalizer, and 3 send fx controls for the global reverb, delay and chorus effects. These effects also have dedicated channel strips with an EQ.

On the one hand I like this approach of designing a sound pretty much completely within a synth, on the other hand I feel it is a bit silly to be mixing and applying compression, eq, etc. in a plug-in when you could simply do this in your host software. I’m still a bit divided on the whole thing.

LuSH-101 mixing panel with 8 layer channel strips and 3 fx channels.

All parameters of LuSH-101′s individual layers (incl. arp, insert fx, mod matrix, etc) can be stored in a timbre preset. The arpeggiator also has its own presets, and so do the reverb and delay in the mixer panel. All settings within an instance of LuSH-101 are stored within a global preset.

The presets browser feels a bit outdated to me. Preset name, author and rating are stored, yet there is no search option or tagging system available. It is basically plain old hierarchical folder browsing. That said, the presets themselves include many wonderful sounds. Lots of quality presets categorized in bass, drum, fx, mono/lead, poly, and tempo based folders.

Alright, a few more bits and bobs before I round up.

LuSH-101 features a plain and simple (boring?) modulation matrix. Source, destination, and amount in a simple panel. Some useful parameters are missing from the destinations list, but more will be added in a future update. A wider range of modulation values would be useful as well.

Talking about updates, the interface has received a good portion of critique from users who either can’t fit the whole thing on their screens, find the huge keys a waste of space, or simply can’t read a thing with those tiny text labels.

Fortunately, the developers are listening and the option to hide the keyboard – which I also though was waste of space, but would you believe I miss it when it’s hidden… – was implemented already, and additional interface sizes are planned for an upcoming update. At a later stage we should even be able to pick our favorite colors for the GUI, just like the early Shioitor teaser shots suggested.

Lastly, when first trying to automate something within your host you will find LuSH-101 doesn’t send out anything by default. As there are too many parameters to assign within the VST/AU spec of 128, you are left to do your own maps. A bit annoying to have to set up, but it’s probably something you are only going to do once and you can use your custom map as a default for subsequent sessions. And again, it has already been announced that improvements for parameter handling, automation and the modulation matrix are planned. LuSH-101 is only going to get better with time.

Check the demo tracks below to listen to the sounds of LuSH-101.

So what do I think?

Quality comes at a price, and I don’t mean the actual price tag. LuSH-101 requires a lot of processing power. There is no denying that this can be a deal breaker for those with “underpowered” machines.

Looking past this issue (and once again coming to terms with bouncing/freezing in your host), there is also no denying that LuSH-101 is a proper monster synthesizer that is capable of producing high quality sounds. Beyond the SH-101 comparison, LuSH-101 offers so much more than the recreation of a classic. The layering system is really nice, especially for designing dynamic pads.

I am also well impressed with D16 Group’s fast response to user requests/critique. If the first update and the list of upcoming improvements are anything to go by, it looks like LuSH-101 will only get better with time. I hope that there will also be some CPU optimization, or perhaps they could do a lite version with less options, but I will say it again: Quality comes at a price.

Hats off to the D16 team for what they have achieved.

With the version 1.0.1 update, the LuSH-101 demo now allows 30 minutes of testing (and no more annoying pop-up window) so go check it out.

More information: D16 Group / LuSH-101