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on Aug 08, 2014 - 0 comments
iZotope announced RX4 and RX4 Advanced, a new version of the audio repair toolkit for Windows and Mac.
iZotope’s Emmy Award-winning RX software is the most robust and best-sounding audio repair toolkit on the market. Musicians, audio engineers, and post production professionals all use RX to transform noisy, distorted, or flawed audio into pristine material.
Launching this September, the new RX 4 is the ultimate companion to your DAW or NLE. Speed up your workflow with intelligent new modules, time-saving new features, and deeper levels of integration with your host.
New in RX4
- Clip Gain: Easily adjust and balance the volume of vocals and instruments with this new non-destructive editing feature.
- Dialogue Denoiser: Reduce distracting background noise from dialogue and vocals in real time (now a standard feature with both RX 4 and RX 4 Advanced).
- RX Connect: Streamline your process with a round-trip workflow compatible with Pro Tools, Logic, and other popular hosts.
For audio professionals in post production, music production, and mastering, the Advanced version of RX 4 boasts additional time-saving features.
New in RX4 Advanced
- Leveler: Automatically balance the volume of your mix, freeing more time for creative mix decisions.
- EQ Match: Ensure a consistent-sounding mix by seamlessly matching multiple recordings with varying sonic profiles.
RX 4 and RX 4 Advanced will be available September, 2014. Customers who purchase RX 3 or RX 3 Advanced will receive a free upgrade to RX 4 or RX4 Advanced upon release. All previous RX customers will be eligible for special upgrade pricing upon release.
More information: iZotope
Avid has announced continued momentum in the live sound market with an expanded AAX live sound plug-in platform for the Avid S3L system.
Avid S3L users can now choose from a wide range of plug-ins from Avid as well as some of the world’s most respected developers including Crane Song, McDSP, and Sonnox.
To meet the growing demand for more powerful, flexible processing, Avid S3L drives AAX plug-ins directly on an HDX-powered processing engine. It delivers the tightest integration and lowest latency of any live plug-in system, without the expense and complexity of outboard solutions. By supporting industry-standard Pro Tools® plug-ins, Avid live systems enable engineers to select the best plug-ins to suit their needs.
“With its unique capabilities and growing plug-in platform, Avid S3L is quickly becoming the console of choice for users requiring a compact, no-compromise system that can meet the toughest challenges,” said Sheldon Radford, director of product management, live systems and consoles at Avid. “Avid S3L gives live sound professionals the greatest flexibility to choose the right plug-in for the job. The plug-ins appear within the VENUE software and are fully integrated within the session file and snapshots. This provides the best possible user experience without the need for additional hardware or management.”
“Partnering with Avid helps ensure that we stay at the forefront of industry innovation when it comes to delivering high-performance plug-ins for the live sound industry,” said Colin McDowell, CEO/CTO at McDSP. “Together, AAX and VENUE offer live sound professionals the perfect integrated processing solution, so we’re delighted to be able to bring our range of plug-ins, including our 6030 Ultimate Compressor, to the Avid S3L system.”
The release of the free VENUE 4.1.3 software update provides support for the latest qualified plug-ins, with Avid continually qualifying additional AAX live sound plug-ins. As part of the update, current and new S3L customers can also download additional free AAX plug-ins for their system through their Avid customer account.
Avid S3L will be on show in the Avid stand G40A in Hall 8.0 at Musikmesse / Prolight + Sound, from 12-15 March 2014.
More information: Avid
Diego Stocco has launched FFS 02 Convolution Processing, the second title in the Feedforward Sounds series of videos based on advanced and experimental sound design techniques created by Diego.
Convolution processors are used for a variety of applications these days, emulation of real acoustic spaces, sonic behavior of hardware devices and more. When used properly they can add an aura or realism to the initial sound source.
But the concept of “reality” in sound is exactly what a sound designer intends to transform, so rather than using a convolution processor as a static tool to approximate reality I decided to use it in a different way, to perform with sound design as it would be possible to perform with a instrument.
Convolution Processing is a technique that allows the real-time creation of musically related ambiences, accents and transition elements from an instrumental or vocal part. In this video you’ll see/hear how this technique can enrich a simple percussive part and a synth part into a full sounding track.
The 15 minute video is available to purchase for $9.99 USD.
More information: Diego Stocco / FFS 02 Convolution Processing
Xenakios has updated the Windows version of HourGlass, a free application intended for radical sound processing.
HourGlass is a standalone application intended for radical sound processing by taking fragments (more commonly referred to as “grains” in other similar software) from sound recordings, to create sound textures.
It is not intended for minor transparent corrections of playback speed or pitch, but is rather placed firmly in the sound mangling/glitch territory.
Changes in HourGlass v1.4.5 for Windows
- Preliminary feature to allow envelopes to play at different rates, as a multiplier of the texture length. (i.e., if the texture length is 8 seconds, setting an envelope rate of 8 will make that envelope play 8 times during the whole texture.)
- The dial allows changing the speed to some common multiples of the texture length, the text box can be used to enter a free rate multiplier between 0.001 and 1024.
- This feature currently conflicts with the looped texture playback. The workaround is to disable the looped playback. (The sounding result will however effectively still be looped for most envelopes.)
- Also, when offline rendering, longer progressions of multiple playback rates might not evolve as far as desired, as the offline rendering ends at the texture length plus the tail length. The workaround is to use the live output recording feature. I will try to come up with some solutions to these in the future.
- Maximum voice count increased from 256 to 512. It will depend on the computer capabilities, the used resampler mode and use of multithreaded voice processing if all the voices can actually play.
- While making the above change, I noticed a performance problem with high voice counts, which hopefully is now fixed.
- Sound volume to envelope converter window length now has name and value labels in the GUI.
- The offline chain processing progress indicator would sometimes get stuck over the waveform view, hopefully now fixed.
HourGlass is available as a free download.
More information: Xenakios
TC Electronic has announced Reverb 8, a new infinite channel reverb algorithm for TC Electronic’s highly acclaimed System 6000 audio processing platform.
A single System 6000 MKII frame is capable of running two Reverb 8 instances, delivering 16 output channels of ultra-realistic space. For an even higher channel count, multiple System 6000 MKII frames can be linked in a network, offering reverb for virtually any channel-count.
Reverb 8 may be fed with any input signal – mono, stereo, 5.1, 7.1, etc. – and deliver to an infinite number of output channels, perfectly suited for e.g. Dolby Atmos (up to 62.2 surround), Barco Auro (11.1 surround) or NHK’s multichannel broadcast format Super Hi-Vision (22.2 surround). In short, Reverb 8 goes from mono to infinity, or anywhere in between.
“For more than two decades of developing and refining some of the world’s finest room simulators, we have had the infinite “Lego brick” reverb as a goal. One missing link was the ability to add credible envelopment without artifacts even when a source already contained plenty of spatial information, for instance natural reverb from a microphone pick-up,” says Thomas Lund, CTO for Broadcast & Production at TC Electronic. “Reverb 8 has that essential quality without reverting to modulation. At the same time, high density distribution is becoming available. We’re confident artists, producers and audiences everywhere will reckon the super-natural 3D sound improvement Reverb 8 has to offer.”
Reverb 8 is available to purchase for $1,825 USD. It is also available as part of Film 6000. Reverb 8 is compatible with the System 6000 MKII mainframe only.
More information: TC Electronic / Reverb 8
Composer, sound designer and performer Diego Stocco has introduced the Rhythmic Processing, the first title in the new “Feedforward Sounds” series of educational videos, based on advanced and experimental sound design techniques.
With these videos, I’m sharing with you guys the experience I gained out of years of work and countless hours spent in trying to figure out unique ways to create original sounds and music.
Rhythmic Processing is a technique that allows the creation of multiple rhythmic elements, in real-time, from a single instrumental part.
The dynamic accents of the instrumental part (in this case an acoustic guitar) are routed into several plugin chains, each one creating a separate rhythmic element.
Rhythmic Processing features
- 10 minute video (H264/720p, 87.2 MB), including:
- concept behind the technique
- recording of initial instrumental part
- setup of the Live session
- detailed function of each individual plugin chain
- final performance
- final notes.
The video is available to purchase for $9.99 USD.
More information: Diego Stocco / FFS 01: Rhythmic Processing
Gatis Ozols and Andrejs Eigus have announced the release of a Mac version of Anarchy Effects, the audio plug-ins bundle previously available from Anarchy Sound Software.
Anarchy Effects is a cross-platform bundle consisting of 5 audio plugins, each of which does a different novel form of frequency domain processing. VST versions now comply to VST 2.4 standard and plugins in different formats are available for both Mac and PC.
Anarchy Effects features
- SpectralAutopan – assigns different pan positions to the different component pitches in the input signal. The effect pitch has on pan position is controlled by control points, which can change in pan position and pitch according to LFOs. This adds stereo depth and motion to sounds.
- Corkscrew – mixes together multiple pitch-shifts of the input signal, increasing or decreasing their pitches in parallel, and fading them in/out at the extremes of their range. This creates the illusion of a sound that seems to continually rise or fall, but doesn’t actually change in average pitch.
- HarmonicAdder – creates harmonic resonances by pitch shifting the dominant frequencies in your input signal by the various intervals in the harmonic series (octave, octave+fifth, two octaves, two octaves+major third etc). These harmonics can be mixed with the dry input signal to make it more resonant, or used on their own as a new sound.
- LengthSeparator – bisects the input signal according to the lengths of its component frequencies. Short sounds become the ‘transient’ part, long sounds become the ‘stable’ part. These parts can be isolated (ie the other part removed), or assigned different pan positions to create stereo movement.
- Convoluter – applies a convolution matrix to the spectral representation of the input signal. This bends the sound along the continuum between pure sine tones and pure noise.
Anarchy Effects is available to download for Windows and Mac (VST/AU) under the GNU Lesser General Public License (LGPL).
More information: Anarchy Effects