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Overloud releases Slego

Related: , , , , Posted in news on Jan 14, 2010 - comment 1 comment
Overloud Slego

Overloud has announced the release of Slego, a free effect processor for Windows and Mac.

Slego allows guitar players to “rock out” with the top notch guitar amp effect simulator engine of Overloud’s flagship product TH1, for free.

Slego features

  • Very easy to play: just connect your guitar to the computer, select a preset and play.
  • knobs on top of the interface allow to adjust the tone of your slego.
  • and Output level knobs have peak indicators.
  • Tuner to simplify guitar tuning even while playing.
  • presets coming from TH1 with rich effect setups.
  • have crossfading transitions, which do not cause unpleasant clicks or drop outs.

Slego is available as a freeware standalone application for PC and Mac.

More information: Overloud / Slego

Review: FXpansion DCAM: Synth Squad

DCAM: Synth Squad

FXpansion has recently released DCAM: Synth Squad, a bundle of plug-ins that is supposed to be the “missing link between analogue and digital synthesis”.

The FXpansion team spent the last few years working on some virtual synths with a new technology called DCAM, or “Discrete Component Analogue Modelling”.

Say what?

DCAM: Synth Squad has been built by accurately analysing and modelling real-world components and circuits found in vintage analogue synths. As a result, don’t expect a standard ‘clean VA’ sound from these synths – you would never get perfect waveshapes on a real VCO-based analogue synthesizer. What you can expect is a set of meticulously crafted synthesizer instruments that sound truly alive in a way that is very rare in the digital world.

So instead of trying to model the way analog synths sound, FXpansion took a good look at the actual individual components of various synths to create a realistic model of the circuit itself. The Roland SH-101, Oberheim Xpander, Alesis Andromeda, ARP Omni, Korg MS-20, various Moogs and Analog Systems modulars are some of synths of which the circuits were carefully studied for the development of the DCAM synths.

Installation

DCAM: Synth Squad is available for PC and Mac as VST and AudioUnit plug-ins. I installed them on a dual core (Intel) machine running Windows XP.

The installation procedure is a straightforward next, next, finish type thing. At the end of the installation you can optionally check for updates, which would be a smart thing to do if your machine has an internet connection.

The next step is to authorize the plug-ins, which you can do from the license manager, on the web, or via another computer if your workstation doesn’t have an internet connection.

Both the installation and authorization processes are well documented in the manual so you can’t really go wrong.

Meet the Synth Squad

DCAM: Synth Squad

The futuristic looking figures on the DCAM product page represent the three synthesizers in this bundle: Strobe, Amber and Cypher. The fourth plug-in is Fusor, a performance environment that can host any combination of the 3 DCAM synths.

While each of the synths is quite different from the other, they all share some common components. The preset system, the TransMod modulation system, and the on-screen keyboard with performance controllers are visible on the interfaces of Strobe, Amber and Cyper.

Let’s take a closer look at the instruments.

Note: There is a lot to write about these plug-ins. I will try to highlight some of the more interesting features of DCAM: Synth Squad without writing a book.

Strobe

Inspired by monosynths like the Roland SH series, SCI Pro One, and Oberheim OB-1, Strobe aims to be a performance synthesizer for those classic analog synth sounds.

FXpansion DCAM: Synth Squad - Strobe
Strobe, a polyphonic 1 osc performance synth inspired by monosynths

Though Strobe has just one oscillator, you can get a multi-osc sound by a technique called oscillator stacking. Add a few stacks and before you know it you have incredibly fat sounds, without the use of any additional unison voices. In the example below I added slowly add 2 stacks and slightly detune the osc to get a nice d&b type sound.

As you can see in the image above you can mix the main osc waveforms (saw, square and white noise) and there’s a sub osc (sine, triangle, saw & square) as well. Every waveform can be freely mixed and there’s a hard sync option which lets you add harmonics for complex timbres (it resyncs on each cycle of the lowest sub-osc, keeping the same pitch as the initial osc).

Note: The square waveform is actually a pulse so that’s why you will also find pulse width controls for both the osc and the sub-osc.

FXpansion Strobe filters

The filter section features no less than 22 filter modes. Low-pass, band-pass, high-pass, peak & notch, but also various combinations of filters, e.g. N2H1L1 T, which has 2-pole Notch, 1-pole High-pass and 1-pole Low-pass filters, each an octave apart.

Strobe’s filter is based on an OTA (operation transconductance amplifier) cascaded core, with a diode clipper in the feedback section. The diodes are slightly mismatched, leading to the characteristic growl of a real analog filter.

And to get some nasty growl you can also use the drive knob to increase the gain of the signal going into the filter. Here’s an example of how the drive knob can change a sound, watch your speakers/ears!

The filter cutoff modulation depth can be set by three hardwired modulator controls: Keytracking, LFO, and Mod Envelope. Of course you can also use the TransMod system to modulate the controls in many other ways.

Next to the filter there’s a small amp section. Small but interesting!
The amp control lets you drive the sound so it gets distorted. There’s a waveshaping stage between the amp and the level. Turn up the level if you just want things louder, or turn up the amp for a nastier sound.

Another lovely feature is the Analogue control. This mimics analog synths by adding noise to the audio and control signal paths. I love these kind of “black boxes”. In the following sound clip I’m slowly turning up the analogue control to create a more noisy, yet lovely sound.

The next section includes a number of (gateable) modulators: an LFO, Ramp, Mod and Amp envelopes. The modulators have direct routings and depth controls for certain destinations. Of course you can also use these and many other modulation sources in the TransMod system.

In the bottom of the GUI you’ll find the arpeggiator, keying (for voice stealing priority and which held notes are played by the arp) and glide controls, and some general parameters for pitch bend ranges, tuning and voice/unison. Furthermore there’s a keyboard with octave up/down buttons, a pitchwheel, 2 perfomance wheels, a MIDI learn button and a Panic button.

Amber

If the sounds of the ARP and Solina string ensemble synths of the 70′s are your thing, Amber might be right up your alley.

FXpansion DCAM: Synth Squad -  Amber
Amber, sounds of the divide-down string ensemble synths from the 70′s

Ever heard of divide-down synthesis? This is a technique in which the frequencies of the master oscillators are divided down to lower frequencies to increase the number of notes available.

Amber’s sound is derived from a bank of oscillators that are frequency-divided to produce a full keyboard range of 96 notes within a single synth voice – this means that you can play 96 notes simultaneously. These notes, referred to as ‘paraphonic notes’, are then mixed down into a single signal to be fed through conventional polyphonic processing blocks (a single instance within each synth voice).

So basically, what this means is that you can put both your arms across your keyboard, press down, and get every key of your controller to play at the same time, all just using 1 synth voice.

Amber has two paraphonic sections within a single synth voice, the synth and ensemble sections. Both look quite similar with sliders for 8’, 4’ (and 2’ for the ensemble section) octaves and 1-pole filter stages (LP/HP filters).

The synth section also has a noise generator and a polyphonic multimode resonant filter (LP/HP), while the ensemble section has a lovely 4-band formant filter. Here’s where you can do a lot of shaping of the sound, and you can even route the synth section through this formant filter as well with the Syn Route control. In the next audio clip I am playing with the formant filter.

Very nice eh? You can really get some great variety with this filter.

I don’t know if you noticed but Strobe does not have any effects, neither does Cypher. Amber on the other hand has a chorus effect, like many real string ensemble synths. The divide-down architecture is not the best architecture for getting big fat sounds, so the chorus will help thicken things up a bit.

Amber’s chorus is modelled on some classic bucket-brigade delay (BBD) chorus circuits. Three different models are available, 1975, 1981 and 1984, each one sounding brighter as the years progress.

In the next clip you will first hear a dry string sound followed by the same sound with the chorus active.

Amber features a lot of the same things as Strobe like the gateable modulators, TransMod system, keyboard section, glide, key etc. It does not have an arpeggiator, which makes sense for a string machine. Instead there are some options for splitting the keyboard ranges of the synth and ensemble sections, and some performance modes can be selected: paraphonic, monophonic attack and release (single VCA paraphonic playing response) and monophonic note (1 voice = 1 note for both sections).

Cypher

Whereas Strobe and Amber are relatively simple and easy to program, Cypher is quite the opposite. The interface has so many knobs and sliders it may be slightly intimidating.

FXpansion DCAM: Synth Squad - Cypher
Cypher, audio-rate modulation goodness

The manual says:

The ethos behind Cypher is to provide a truly accurate model of an analogue synth capable of analogue-style FM and other audio-rate modulation (as opposed to multi-operator FM such as that found in Yamaha DX-series digital synths). It features thru-zero FM which allows musical digital FM-style sounds with an analogue-style circuit.

Some examples of analogue synths that feature FM are the SCI Prophet 5 and Roland Jupiter series, which allowed one osc to modulate another. Most modular synths also allow you to patch any audio-rate signal to vary the osc frequency.

Some of Cypher’s highlights:

  • 3 advanced oscillators, dual waveshapers and filters.
  • Continuously variable osc waveforms.
  • Precision-modelled audio-rate modulation.
  • Audio-rate FM, wave modulation, sample-and-hold.
  • Variable-depth oscillator sync.
  • Ring modulation, beat detune and more.
  • Built-in arpeggiator, 2 LFOs, 3 envelopes.
  • Advanced modulation with the TransMod system.

Alright, here’s where I should probably direct you to the manual because there is a LOT to tell about Cypher and frankly FXpansion did a much better job explaining this synth in detail than I ever could. So let me try and keep it short since we still have to take a look at Fusor as well.

Cypher’s oscillators can be modulated with FM (frequency modulation) and WM (wave modulation). Unlike the slow LFO modulation, these audio rate modulations can modulate parameters at much higher rates. The manual includes 8 pages explaining Cypher’s oscs if you want to know more.

Cypher has a beat control for each osc, which detunes the oscs against another while keeping the rate of the resulting beating constant across the keyboard. Here’s how this can sound.

In the next audio clip I am playing with the FM & WM controls.

Fusor

Fusor is a semi-modular layering environment, which allows you to load any combination of up to 3 DCAM synths to create your very own super synth.

FXpansion DCAM: Synth Squad - Fusor
Fusor, a semi-modular sound design environment

In the top and the bottom of the GUI there is a set of tabs which will bring up the various screens/pages in Fusor.

  • Global — You can select devices and presets, mix and route things (channels, aux sends/returns) and route the MIDI input channels.
  • Key Map — Have some complex layering action by setting up key splits. Up to 4 keyboard zones can be assigned and each zone has individual low & high break points and velocity curves. Each of the Key Maps can be routed to any of the synths and/or Animator engines.
  • MonoMod — Additional monophonic modulation sources (4 LFOs / 4 envelope followers) for modulation of synths or effects in Fusor.
  • Animator — An advanced step-sequencer/arpeggiator, with 4 separate engines which each can be an Arpeggiator, Note Sequencer, Modulation Sequencer, or Advanced engine.
  • Synth, FX, Aux FX & Master FX — These pages show the selected synths and effects. Effect pages have up to 3 effect slots with 4 modulation (FuseMod) slots each.

Fusor really feels like a super instrument. It is great for building big layered sounds with lots of effects and modulation going on. Here’s one I did layering 3 synths with various key zones and a bunch of effects assigned.

The Animator is a great tool for creating moving sounds. The step sequencer is perfect for creating rhythmic patterns.

Fusor Animator
The Animator step-sequencer

The melody in the following audio clip was done in the Animator. In my host I just ran the transport to get the sequence to play.

Since none of the DCAM synths have effects (except Amber’s chorus) you will be happy to hear that Fusor includes a whole bunch of them: Gain, (noise) Gate, EQ, EQ-Filter, Comp Chan (channel compressor), Comp Bus (bus compressor), Delay, Phaser, Flanger, Chorus, RingMod, TinCanVerb, Filter Mod, FreqShift (frequency shifter), BitCrusher, Drive (overdrive/distortion), Freezer (granular buffer-looping/freezing effect), Breverb (Hall, Room, Plate & Inverse), Amber Chorus & Formants.

The audio clip below puts the following effects on the same loops, one after the other: Breverb Plate, Filter Mod, Freezer, and Amber Chorus.

There are also a number of X4 Quad FX, with 4 bands of the same effect running in parallel. These are X4-Filter, X4-Drive, X4-Comb, and X4-Delay.

Again, there is a lot to write about all these features so if you want to know details please check the manual.

So what do I think?

DCAM: Synth Squad has a lot to offer, especially to those who are willing to spend some good time getting to know each one of these plug-ins well. I personally wasn’t totally impressed with the included presets, but you don’t need a lot of time with Synth Squad to know that these synths pack some serious punch.

The sound quality is great to my ears and the synths sit well in a mix. You can get some great results for both analog and digital sounds, as the three synths cover a lot of ground. Fusor is a lovely environment for creating super instruments, tons of effects, easy layout, top notch!

The common interface sections help you get familiar with the controls/parameters fast.

That said the many features of the complete package can still be a little intimidating at first, especially if you are new to synthesizers. CPU usage can be a problem on older machines. My dual core Intel machine does OK, but one should not attempt to run many instances of heavy Fusor instruments on such hardware.

In short, DCAM: Synth Squad is an amazing package for a great price ($249 USD / €189 EUR / £157 GBP, excluding taxes where applicable).

FXpansion has just released a demo version so make sure to give it a go (FXpansion account required, free registration). Audio clips and demonstration videos are available on the FXpansion website as well.

More information: FXpansion / DCAM: Synth Squad

Overloud releases TH1 Triode v1.1, TH1 to v1.1.2 and Breverb to v1.5.4

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Overloud TH1 Triode

Overloud has released version 1.1 of guitar effect suite TH1 Triode, version 1.1.2 of its bigger brother TH1, and version 1.5.4 of Breverb, a reverb effect for Windows and Mac.

TH1 Triode shares with the flagship TH1 the same new twist on the guitar player’s stage and recording system by implementing both revolutionary features and a user interface that appeals to every level of player and producer, regardless of experience and technical know-how. Exclusive features such as SLR amplifier morphing, free life-like microphone positioning around cabinets, ReSPire cabinet technology, and Breverb-based reverb, are combined with a radically different and transparent user interface, a selection of mics, cabinets, and amps, stomp-boxes, pedals and rack effects, easy and powerful memory management, and unprecedented real-time control capabilities.

TH1 Triode features

  • Sound
    • 4th generation tube and analog emulation engine
    • EXCLUSIVE – SLR technology morphs between amps for an infinite sound canvas
    • EXCLUSIVE – 3D positioning of microphones in front of cabinets
    • EXCLUSIVE – Cabinets feature ReSPiRe technology
    • BREVERB-based reverb effects
    • Global sound-influencing controls
    • Easy and intelligent stereo handling: true stereo in to out capabilities
  • Ease Of Use
    • Easy to understand and modify signal path
    • In-line high quality Tuner
    • Compact view Live mode
    • Advanced memory management
    • 1 Factory Bank
  • Control
    • Full and easy to configure MIDI Program and Bank Change control
    • Smart Controls open up new ways of controlling and tweaking your sounds
    • MIDI control of Smart Controls and memories
  • And More…
    • Very low CPU usage
    • Plugin or Standalone mode
    • The amplifier introduces 4 samples latency
    • Zero latency for all other modules
    • 3 Amplifiers with 6 total Channels and 12 operating Modes
    • 9 Cabinets
    • 6 Microphones: choice of Dynamic, Ribbon and Condenser
    • Two microphones for each Cabinet
    • Studio Ambience reverb optionally added proportionally to the distance of the microphone from the speakers
    • 22 stomp boxes, pedals and rack effects
    • Parameter-based BPM sync switch
    • Local and Global Tap buttons
    • Host, Internal or Variation-based Tempo Sync

TH1 Triode is available for Windows and Mac in VST/AU/RTAS/Standalone formats for 69 EUR (+VAT).

Check this page for a comparison between TH1 and TH1 Triode.

TH1 version 1.1.2 updates the custom guitar effects suite with some smaller bug fixes, making it up-to-date with TH1 Triode.

Breverb version 1.5.4 introduces a new authorization process, demo mode and license scheme.

Breverb can now be authorized either with License ID + Serial number (old format – being phased out) or Serial number only (new format). Each license can authorize ONE iLok and, additionally, up to THREE computers using a “license file”.

Overloud Breverb now runs in fully working demo-mode for 14 days without requiring any additional authorization.

Visit Overloud for more information.

audioMIDI.com releases Overloud Breverb audioMIDI Edition

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Overloud Breverb audioMIDI Edition

audioMIDI.com has announced the release of Overloud Breverb audioMIDI Edition, a high quality reverberation plug-in, modeled after the most acclaimed hardware classics.

Overloud BREVERB audioMIDI EDITION offers two fully-functioning versions of BREVERB’s high-quality reverb algorithims at an unbelievably low price! The audioMIDI EDITION is just a taste of the full BREVERB plug-in and includes fully-functioning versions of the Room and Plate algorithims. Only the selection of parameters is limited, but the algorithms are 100% the same.

Overloud Breverb audioMIDI Edition features

  • Two Algorithms: Room and Plate.
  • Modeled after sought-after hardware units.
  • Each Algorithm is engineered with no compromises in order to achieve maximum quality.
  • Full EQ section to tailor BREVERB frequency response.
  • No additional latency introduced.
  • Very low CPU usage: 120 stereo instances safely opened on a Core2Duo 2.4 GHz MacBookPro.

Overloud Breverb audioMIDI Edition is available for Windows and Mac (VST/AU/RTAS) for $4.99 USD.
You can upgrade* within 30 days of purchase and get the full version for just $249 USD ($120 off regular price), or upgrade after 30 days and get the full version for $289 ($80 off regular price).

Visit audioMIDI.com for more information.

*$4.99 BREVERB plug-in and upgrade savings are limited-time offers. If you live in the following countries, you cannot qualify for the upgrade offer from audioMIDI.com: Japan, Australia, Italy, France, Spain, UK & Ireland, Germany/Austria and Switzerland, Poland, Denmark, Sweden and Norway. You will need to purchase the full version of Breverb from your local distributor.

FXpansion updates BFD to v2.1

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FXpansion BFD v2.1

FXpansion has releaed version 2.1 of BFD, a powerful acoustic drum production workstation for Windows and Mac.

Changes in BFD v2.1

  • Overloud Breverb “BFD2 Edition” integrated into BFD2 mixer – Hall, Plate, Room & Inverse algorithms.
  • PSP Vintage Warmer “BFD2 Edition” integrated into BFD2 mixer.
  • Improved synth engine supporting varied mic and articulation configurations.
  • Preset/Kit switching playlist, controllable via MIDI Program Change.
  • In-place kit-piece preview before loading.
  • Load-on-demand RAM optimization.
  • Many new workflow enhancements in the Kit page, such as Copy, Swap and Move kit-pieces between slots when loaded.
  • Workflow improvements in the Grooves page: new edit tools like the roll tool; Drum Track enhancements; Redo as well as Undo.

BFD2.1 is a free downloadable update to all BFD2.x registered owners.

Visit FXpansion for more information.

Overloud updates TH1 to v1.1.1

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Overloud TH1

Overloud has released version 1.1.1 of TH1, a custom guitar effect suite for Windows and Mac.

Changes in TH1 v1.1.1

  • Fixes
    • Installers on Mac now always work properly.
    • Leds on amplifiers sometimes were not working properly.
    • Tremolo Intensity range is now correctly displayed (0 to 10).
    • fixed a bug leading to random crashes when closing a dialogue window.
    • fixed a bug that lead to a ‘static’ (stuttering due to continuous rettriggering) LFO behavior when some hosts were not in play.
    • both Internal and Variation BPM can be dragged to Smarts and ‘tappable’ both from the GUI and via MIDI.
    • now Spatial and Comb Delay are correctly recalled.
    • when saving a MIDI Binding, the saved preset is automatically selected in the preset display.
    • fixed a small bug in diode-based pedals (Tube Nine, Diode 250, etc…).
  • Enhancements
    • Module presets are now organized and browsed for in an alphabetic order.
    • optimizations in the Variation loading processes which should lead to a faster loading of the GUI when switching presets; the audio engine switching is seamless as before.
    • added a preference to limit editing (dragging and loading modules and double click to bypass…) in the Overview.
    • added a dialogue in the Browser when trying to overwrite a Variation, Sound or Bank. These operations when done in the Browser are always destructive.
    • added a preference to deactivate the above-mentioned Browser window dialogues.
    • Added credits for Recabinet and Wild Hades (Impulse Responses).
    • in Smart Connections window, when in Step mode, ‘apply to all’ arrows were added to ease the job.

TH1 is available for Windows and Mac for 249 EUR (worldwide) / $349 USD (USA and Canada). The version 1.1.1 update is free for registered users. A 14-day full-featured demo is available for download here.

Visit Overloud for more information and audio demos.

Overloud updates TH1 to v1.1

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Overloud TH1

Overloud has released version 1.1 of TH1, a custom guitar effect suite for Windows and Mac.

Changes in TH1 v1.1

  • New Features
    • Two amplifiers: Overloud Custom and BassFace ’59 (US) amps – 4 new channels and 10 operating modes.
    • Amplifier adds a VariFire panel and control: a Gain-Character control for expanded distortion color control.
    • Three Rack Delay Effects: Comb Delay, Spatial Delay, Pattern Delay.
    • Mixer Pro with control on Phase, Stereo Width, Sample Delay and Mono/Stereo output switch.
    • Splitter with Balance/Switch capabilities and with two Crossover modes (HPF/LPF and BPF/BRF) and frequency/width controls.
    • Dual IR Cabinet module allows users to load commercial or their own cabinet Impulse Responses with balance, phase and micro-delay control with HPF and LPF.
    • Dual IR Cabinet comes preloaded with Recabinet Demo (Recabinet – Album quality guitar tone, direct) and the Experimental Cabinet collection from Wild Hades (Alu).
    • Eight new Stomp Boxes: Noise Gate / Expander, Mild Flanger, Rich Flanger, Analog Flanger, D-Reverb, D-Delay, 7-Band Graphic EQ and 5-Band Amp EQ.
    • Host, Internal and Variation-based BPM for maximum flexibility when it comes to BPM syncing.
  • Ease Of Use
    • Module Presets.
    • UI: Auto-hiding Overview panel simplifies the use of TH1 on smaller monitors.
    • UI Background Skinning: drag&drop or select via preferences window of factory and user-picked backgrounds in Png and Jpg formats.
    • Copy and paste of modules between Variations and different instances of TH1.
    • Localized numeric value display when moving module parameters.
    • Computer keyboard value-entry.
    • Bank import and export functions.
    • New Browser implementation with right-click functions for copy, paste and clear of Banks, Sounds and Variations.
  • Control
    • Smart MIDI Control: assign Smart Controls to any MIDI CC, Note On or Program Change with Auto-Learn Function.
    • Remote Preset MIDI Control: other than the default Program and Bank message control, TH1 can be programmed (also via Auto-Learn) to respond to MIDI CC, Note On and Program Changes for operations like Bank up/down, Sound up/down, Variation up/down.
    • Direct Variation access MIDI Control: assign any MIDI CC, Note On or Program Change to direct access of each Variation (single preset sound in TH1) in the currently active Sound (a collection of 8 Variations).
    • Global MIDI Control: assign any MIDI CC, Note On or Program Change to the first Volume Pedal and Wah, Internal BPM Tap Tempo, Tuner status, Output Mute and Output Volume.
    • MIDI: saving of MIDI configurations.
    • Smart: copy, swap, remove Smart Controls via drag&drop actions.
    • Smart: button to swap Min and Max values.
    • Smart: new Smart types, Touch, Stepper Up, Stepper Down, Stepper Up/Down with up to four different user definable settings to step through.
  • Fixes
    • Better Noise Gate implementation in Master Section.
    • You can use left and right arrow keys in the Browser panel to scroll through Variations.
    • Dedicated button to open the Smart Connections window.
    • Fixes for Digidesign Pro Tools 8 and Cakewalk Sonar 8 64-bit.
    • Various automation fixes.
    • Master parameters get saved with song/session and when quitting the standalone version.
    • Many more smaller fixes.

TH1 is available for Windows and Mac for 249 EUR (worldwide) / $349 USD (USA and Canada). The version 1.1 update is free for registered users. A 14-day full-featured demo is available for download here.

From March 6 to April 6, a purchase of TH1 at the Overloud online shop will get you a free copy of Recabinet TH1 Edition ($39 USD value).

Visit Overloud for more information and audio demos.

Focusrite introduces Liquid Saffire 56, Focusrite Plug-in Suite and Guitar FX Suite

Focusrite has introduced a number of new products at the NAMM show.

The Liquid Saffire 56 is Focusrite’s new flagship Firewire interface. It has generated a great deal of excitement in the industry as it marries Focusrite’s celebrated Liquid technology with its new generation of Firewire interfaces (led by the critically acclaimed Saffire Pro40). Two of the eight mic pre’s use the third generation of Liquid pre amps, building on technology used in the Liquid Channel and Liquid 4Pre.

Focusrite Liquid Saffire 56

Liquid Saffire 56 key features

  • Two Liquid Pre-amps — The marriage of a hugely flexible analogue front end with cutting-edge dynamic convolution DSP, each Liquid Pre-amp lets you choose from ten different classic pre-amp emulations, with an eleventh ‘flat’ option.
  • Six High Quality Award-winning Focusrite Pre-amps — Six award-winning Saffire pre-amps complement two Liquid pre-amps. All eight pre-amps demonstrate the same wide bandwidth philosophy behind the early vintage Focusrite units.
  • High Quality 24-bit/192kHz Firewire Interface — Professional digital conversion and JetPLLTM jitter elimination technology; pristine audio quality and reliable synchronisation are guaranteed.
  • Total I/O Count of 28 Inputs and 28 Outputs — A host of i/o options are provided*, including a unique loop-back facility for routing audio between software applications via Saffire Mix Control.
  • Suite of Focusrite VST/AU plug-ins — Upgrade your standard sequencer effects and bring a touch of class to your session with Focusrite Compression, Reverb, Gating and EQ VST/AU plug-ins.
  • Two separate headphone buses — Two artists can receive independent and fully customised monitor mixes. Each output has an independent level control available on the front panel.
  • Saffire Mix Control Zero-latency DSP Mixer/Router — Routing flexibility and intuitive one-click set-up solutions; Saffire Mix Control provides an 18 x 16 DSP mixer with excellent output routing and monitoring capabilities.
  • Front panel 5-LED metering — LED metering for each of the analogue, ADAT1, ADAT2 or S/PDIF inputs offers accurate viewing of levels direct from the front fascia.

The Liquid Saffire 56 will be available worldwide in the first quarter of 2009.

Focusrite Plug-in Suite

Focusrite have also announced the release of two Plug-in suites: The Focusrite Plug-in Suite provides a collection of EQ, Compression, Reverb and Gating VST/AU plug-ins from one of the most prestigious names in pro audio. The Compressor and Gate have been modeled on Focusrite’s hardware devices, using the measurement of Focusrite’s custom optos to achieve a vintage optical sound. The EQ module delivers a similar signature to the original Focusrite ISA EQ curves, and the reverb is based on classic studio designs and has been developed to allow users to get the right reverb sound with the minimum effort.

Focusrite Plug-in Suite

The Guitar FX Suite from Focusrite consists of eleven professional VST/AU plug-ins for guitarists. These include five of the world’s finest guitar amp models and four distortion pedal effects, all courtesy of ‘Overloud’, experts in the field of accurate guitar amp modeling. The amp models include plug-ins based on the Vox AC30, Marshall JCM900, Fender Twin, MESA Boogie Rectifier and the Fender Bassman. The pedal models include plug-ins based on the Boss DS-1, the Ibanez Tube Screamer, the Electro Harmonix Big Muff and the Dunlop Fuzz Face.

Both the Focusrite Plug-in Suite and the Guitar FX Suite will be available in January.

Visit Focusrite for more information.