Monday, November 9, 2015

Press Release - iZotope Launches Ozone 7: Vintage-Inspired Mastering Tools

 iZotope, Inc., makers of award-winning software for audio production, now has released the latest version of their flagship mastering software, Ozone.

Ozone 7 is a set of essential mastering tools that enable both professionals and aspiring music producers to easily add a final level of polish to their mixes and audio recordings. While retaining the elegant workflow and precision audio processing of previous versions, Ozone 7 brings the best sonic characteristics of analog hardware to modern digital recordings.

Ozone 7 main Interface with dynamic EQ

The Ozone family of products includes both Ozone 7 and Ozone 7 Advanced, which includes additional features for gluing together a mix. Ozone 7 Advanced users can take advantage of four brand-new vintage-inspired modules, designed to add deep, rich analog character to digital recordings. Additionally, the new Codec Preview feature lets Advanced users audition the effect of industry-standard codecs on their master, making it easier to make necessary adjustments before exporting for digital distribution.

Ozone 7 Vintage EQ

By starting with Ozone's expansive collection of presets, pros and newcomers alike can quickly achieve authentic sounds in any genre. Through helpful visualizations and intuitive controls, the software aims to takes the guesswork and manual labor out of the mastering process, helping users experiment without fear of making the wrong sonic choices.

"Ozone 7 builds on iZotope's reputation for superior sound quality and mastering tools," says iZotope Product Manager Izzy Maxwell. "We've added new processing capabilities that honor all the aspects of vintage hardware that people love-warmth, saturation, character, richness-and reimagines them for the modern digital music production realm."

Ozone 7 Key Features:
  • Vintage Limiter: Glue a mix together, control dynamic range, and add character
  • Vintage Tape [Advanced only]: Add the distinctive sonic characteristics of analog tape to modern digital recordings
  • Vintage Compressor [Advanced only]: Add subtle warming and sweetening effects with a single-band, program-dependent vintage compressor
  • Vintage EQ [Advanced only]: Add the richness, warmth, and color of analog equalization to digital audio
  • Maximizer with new IRC IV mode: Increase perceived loudness without pumping or distortion with the mode's innovative new spectral shaping technology
  • Dynamic EQ: Now included in both versions of Ozone with improved features and optimized performance
  • A comprehensive bank of presets: Achieve authentic sounds for any genre and style and explore Signature Mastering Presets from Greg Calbi, the notable mastering engineer whose career spans from John Lennon to Bruce Springsteen to Lady Gaga and Tony Bennett
  • New export options: Encode mastered audio to MP3 and AAC formats

Ozone 7 runs as a standalone application, or as a plug-in in your audio editing software. Ozone 7 Advanced includes ten additional component plug-ins for direct access to individual Ozone modules in your host.

Pricing & Availability
Ozone 7 and Ozone 7 Advanced are available now at and at select retailers.

Ozone 7 Advanced is also available as part of iZotope's Music Production Bundle with Insight, Alloy 2, Nectar 2 Production Suite, and Trash 2 (plus two Trash  Expansions). 

The Music Production Bundle, Ozone 7 Advanced, and Ozone 7 are on sale through November 11, 2015:
  • Music Production Bundle is available for $549 USD, €505 (reg. $599, €549)
  • Ozone 7 Advanced is available for $449 USD,  €429 (reg. $499, €459)
  • Ozone 7 is available for $199 USD, €185 (reg. $249, €229)
 Upgrade pricing can be found on iZotope's website, and owners of previous versions of Ozone can find their upgrade coupons in their iZotope accounts.

All customers who purchased Ozone 6 or Ozone 6 Advanced after August 26, 2015 will receive a free upgrade to the respective version of Ozone 7.

Tuesday, October 27, 2015

AES NEWS - Waves Audio Director of R&D Itai Neoran to Lecture at AES

KNOXVILLE, TN, October 27, 2015 — Itai Neoran, Director of Research and Development at Waves Audio, will be giving a lecture on FIR reverberation as part of the Immersive Audio Signal Processing and Effects Workshop at the upcoming 139th International AES Convention, taking place October 29 to November 1, 2015, at the Jacob Javits Center in New York City.  
The workshop (October 31, 10:00–11:30 am, Room 1A14, Technical Program Sessions) will discuss multi-channel and surround effects. Neoran’s lecture will focus on the concept of FIR reverberation and on enhancing the statistics of the desired reverb, the sensation of space, and inter-aural correlation.  
Neoran has been developing professional and consumer audio processing tools since 1994, one of which is the Waves H-Reverb Hybrid Reverb plugin. FIR Reverberation, the topic of Neoran’s lecture, is among the key technologies behind H-Reverb.   
Neoran comments, “I am extremely thankful to be invited to lecture at AES. It offers me the opportunity to tell the story of Waves H-Reverb and explain how this processor enables us to control some the most important spatial qualities of reverberation, including echo density, modal density, build-up, decay shapes and stereo image.”   

To learn more: To visit Waves at the AES convention, visit Booth 437. 

Monday, October 26, 2015

Press Release- Waves Audio Announces Waves Central

Press Release - Waves Audio, a leading provider of digital signal processing solutions, announces Waves Central, a new system to replace the current Waves License Center, providing license management and plugin installation (for Waves 9.6 and above) in one easy-to-use interface.  
Until now, users had to activate their licenses through the Waves License Center, then install the plugins using the online installer or (mainly on Mac OS’s) by downloading a huge installer file.  
With the release of Waves Central, activation and installation will both be done within the new interface. Users will no longer need to download installers. They will now be able to manually install the plugins they choose, or simply click on the EASY INSTALL & ACTIVATE button to automatically install all of their licensed plugins.  
Waves Central will be available soon as a downloadable application. Waves users with an account login will be able to download the application for free from the Downloads section at ( The same login info will be used to log in to Waves Central in order to perform product installations and license activations.  

Waves Central covers installations and activations for full products as well as product demos, and provides online installation and activation solutions, as well as solutions for offline installation and for writing licenses to a USB device (for use with computers not connected to the internet).

Monday, October 19, 2015

Press Release - The New 10MX Atomic Clock from Antelope Audio: The Culmination of Two Decades of Leadership in Digital Audio Technologies

In 1990, a University of Michigan Engineering School graduate named Igor Levin set out to make 'superior sound, simplified' by trailblazing developments in the world of digital conversion and audio clocking technology. His innovations were already recognized by a number of sound engineers around the world, when in 2005 Levin and Antelope Audio introduced the oven-controlled crystal oscillator: the most stable clocking solution ever produced. A couple of years later he revealed the benefits of Atomic clocking for the audio industry. Now, following more than two decades of refinement, Antelope announces its latest innovation in audio clocking technology: the 10MX Atomic Clock.

Press Release - The 10MX builds on Antelope's clocking legacy by fusing proven technologies and advances in industrial design to deliver a product without compromise. The new product combines the atomic precision of the legendary 10M with the sophisticated Acoustically Focused Clocking (AFC) algorithms of the Trinity into an aesthetically stunning 1U enclosure.

"The 10M Rubidium Atomic Clock and Trinity Master Clock combination has proven to be the 'gold standard' and the ultimate clocking reference in many top recording, mastering and post-production facilities around the world," commented Igor Levin, CEO and founder, Antelope Audio. "In our development of the 10MX, we wanted to raise the bar. We listened to our customers and delivered exactly what they asked for: the best features of the 10M and Trinity in a combined, 1U package."

10MX: Supporting Sampling Rates up to 768 kHz
As digital devices continue to proliferate the audio signal chain, high quality clocking solutions have never been more critical. The Antelope 10MX is perfectly suited to recording, mixing and mastering environments and is an ideal companion to a variety of live sound applications in delivering refined clarity and three-dimensionality. Housed in a compact and futuristically designed 1U rack box, the 10MX is manufactured with premium components to deliver the most stable clocking solution in the world. The new, smaller and more efficient Rubidium oscillator demands less power consumption and therefore emits less heat radiation.

The 10MX features multiple atomic outputs, enabling up to ten devices to be clocked simultaneously over 10MHz. Four BNC outputs provide Word Clock (WC) signal, supporting an astounding sampling rate of up to 768 kHz. In addition, four more WC outputs are available through AES and S/PDIF. All features on the new 10MX master clock can be accessed from either the front panel or via the included software control panel, which is available for both OS X and Windows.

The 10MX is expected to ship in mid-November and is priced at $5,995. For more information, please visit

Monday, October 12, 2015

Press Release - Radial's Headload Prodigy™ is now shipping

Vancouver, BC - Radial Engineering Ltd. is pleased to announce the Headload Prodigy is now shipping.

The Headload Prodigy is a combination load box and DI that enables one to drive a guitar amp at a higher output in order to maximize the tone, yet produce a lower stage volume when needed.

Like the original Headload, the Prodigy employs custom made cement-encrusted resister coils to convert the excessive power from the amplifier to heat and is able to withstand up to 100 watts RMS. The Prodigy may be used in three different ways, depending on the need. First, it may be used as a simple direct box connection via a built-in Radial JDX Reactor™. This combines a reactive load with a proprietary filter bank to emulate the tone of a 4 x 12 half stack using a Shure SM57. The second is as a load box where you can attenuate 50% of the output power for use on quiet stages.  Third, the Prodigy can be used without a cabinet for completely silent recording.  In all cases, the balanced JDX output is available. This is transformer isolated to eliminate hum and buzz caused by ground loops and is equipped with a pin-1 ground lift and polarity reverse.  One simply connects the head to the Headload Prodigy and the desired speaker output to suit.

In order to optimize the playing experience for in-ear monitors, a dual band EQ on the front panel is included.  To add greater connectivity options, two additional ¼" outputs are included with one that is post EQ, post JDX, the other pre EQ, pre JDX. These can be used to feed additional amplifiers, effects racks or recording systems and adjusted using the front panel level control. Headphones have their own control for volume.

Housed in 14-gauge steel, the Headload Prodigy features Radial's unique book-end design that creates protective zones around the switches and controls. An internal I-beam construction adds tremendous rigidity, protecting the internal PC board from torque which could lead to solder joints going cold prematurely.  One or two Prodigys may be rack-mounted into a single 19" rack space using an optional rack kit. Power is supplied by an external 15VDC supply.

MAP for the Headload Prodigy: $399.99 USD

Monday, October 5, 2015

Optimizing Ableton with Multiple Drives

Do you use Ableton live for performance or recording purposes? Well, using multiple hard drives are the key to remove data collisions and bottlenecks that will reduce your artistic vision. Ableton recommends using 4 different hard drives for your projects. Make sure all the drives are formatted in your computer's native format:

1) System drive (SSD): This one should hold your program application
2) Samples and Libraries (SATA3-7200RMP): This one holds your packs, samples and sound libraries.
3) Audio Recording and Caching (SATA3-7200RMP): This is especially key if you are using higher bit rates for your audio recordings.
4) Backup (Any type): This is to have a backup of your files etc.

For information on how to set these in Ableton Live, check out the link below.

Ableton Help File

Monday, September 28, 2015

Press Release - Sennheiser’s new EK 6042 two-channel camera receiver works with both analog and digital transmitters

Amsterdam, September 15, 2015 – At IBC, Sennheiser unveiled a new slot-in camera receiver that redefines compatibility: the EK 6042 is a true-diversity, two-channel receiver that can work with both analog and digital Sennheiser transmitters across a bandwidth of 184 MHz. It is an ideal partner for Sennheiser’s top-of-the-range Digital 9000 series and can operate with all analog transmitters that feature Sennheiser’s HiDyn plus or HDX companders. The receiver will become available in spring 2016.

“This is a true “one for all” receiver,” said Tobias von Allwörden, product manager, Sennheiser Broadcast & Media. “It works with any Sennheiser series from Digital 9000, 5000 and 3000 down to 2000 and evolution wireless G3, and automatically identifies the transmitter via an IR link.”

The camera receiver chooses its own operating mode depending on the transmitter, and also selects the appropriate bandwidth and frequency in the UHF range between 470 and 654 MHz. As a true diversity receiver with four separate receiver circuits, the EK 6042 is extra-reliable, even in difficult RF environments.

The EK 6042 can be combined with either a 15-pin adaptor to slot directly into Sony cameras, or a 25-pin adaptor for Unislot- and SuperSlot-compatible devices.

For camcorders without an audio receiver slot, a special backpanel adaptor for the EK 6042 is available as an accessory. If the camera does not supply power to the receiver, a “piggyback” power adapter can be attached to this housing and fitted with two hot-swappable BA 61 battery packs.

The EK 6042 camera receiver will become available in spring 2016.

1) A true all-rounder for professional camera sound, the EK 6042 two-channel receiver works with the Sennheiser series 9000, 5000, 3000, 2000 and evolution wireless

2) The receiver’s display and controls

Audio specialist Sennheiser is one of the world’s leading manufacturers of headphones, microphones and wireless transmission systems. Based in Wedemark near Hanover, Germany, Sennheiser operates its own production facilities in Germany, Ireland and the USA and is active in more than 50 countries. With 18 sales subsidiaries and long-established trading partners, the company supplies innovative products and cutting-edge audio solutions that are optimally tailored to its customers’ needs. Sennheiser is a family-owned company that was founded in 1945 and which today has 2,700 employees around the world that share a passion for audio technology. In 2014, the Sennheiser Group had sales totalling €635 million.

Monday, September 21, 2015

Press Release - Reshaping excellence – unique live concert experience and 3D immersive audio recording at Sennheiser event

London, September 16, 2015 – On August 27, audio specialist Sennheiser presented an extraordinary concert at London’s Central Hall Westminster, featuring performances by Grammy award-winning artist Imogen Heap and the Junge Deutsche Philharmonie orchestra conducted by Jonathan Stockhammer. The concert was part of an exclusive event that kicked off Sennheiser’s “Reshaping excellence” campaign, celebrating Sennheiser’s 70-year history of innovation and offering a very first look at the audio specialist’s next milestone audiophile product. The concert – including two world-firsts – was mixed in truly cutting-edge fashion by Tonmeister Gregor Zielinsky to demonstrate the immense potential of 3D immersive audio.

The first part of the concert presented works by John Adams, Felix Mendelssohn Bartholdy, György Ligeti and Philip Glass, performed by the acclaimed Junge Deutsche Philharmonie orchestra. “This is my second time working with the Junge Deutsche Philharmonie and it’s the absolutely most exciting group in the world to work with,” said conductor Jonathan Stockhammer. “There is so much passion in every position that I can let a lot of the work come from the heart and I can let go… and I love that feeling.”

Towards the end of this first section, the orchestra was joined on stage by Imogen Heap, appearing in her only public concert of 2015. Her first song was a unique orchestral arrangement of her hit “Can’t take it in” that had been specially created by Jonathan Stockhammer. This performance would be the debut for an incredible new version played especially for the appreciative audience.

After the intermission, Imogen Heap thrilled her fans with songs and compositions from her inspiring repertoire, MIDI-controlling sound effects, loops and delays (and also her “creatures”) via her self-designed hi-tech gloves, which she had programmed extensively for this event. Jonathan Stockhammer: “To watch her work, to see her develop her pieces – that’s very composer-like. She does so much of the production and the arranging herself, she is really the master of it all. She is so amazingly talented with the programming aspects, the expression comes from her depth of knowledge. She’s like a Debussy of the modern computer and these hand effects.” Backed by musicians from the Junge Deutsche Philharmonie, Imogen also debuted a brand-new composition for the event, “Tiny Human”.

Tackling difficult acoustics – and bringing together different worlds
Sound designer and FOH engineer Oliver Voges described the complexity of the event from an audio perspective: “We are actually bringing three completely different elements together. First there’s the orchestra: they usually play live and are not used to getting amplified. Then we have Imogen and her band – their music and the many MIDI signals and effects need to be amplified of course. And last but not least, there’s the 9.1 immersive audio recording taking place, and such recordings are normally made without any amplification happening at the same time, because you want to reproduce the actual hall and loudspeakers would interfere with the natural acoustics.”

However, the acoustics of the impressive Great Hall actually turned out to be quite challenging, and ultimately the amplification via the PA system was the very thing that ensured a fantastic listening experience for the live audience and “saved” the 9.1 recording. A beautiful, large dome spans The Great Hall, and this feature created unpleasant audio reflections. Oliver Voges: “It was a little bit like a whispering gallery, where you speak very quietly in one corner and hear your words very loud at the other end. This happened here and by chance it happened at the conductor’s position. The biggest problems occurred with the woodwinds, as they project to the top, right into the dome. The reflected sound was much louder and had a total different timing than the direct sound.”

To remedy the situation, Voges had to do a mix with his own room algorithms to mix the depth of the room back in. “I have done an architectural mix in an electronic way. In a classical production you would usually do this with different kinds of mics and different kinds of pre-delays to delay the sound to the main array. But here we had no other choice than to do this electronically. Our goal was to keep the coloration of the sound 100% the same, no matter whether the PA is on or off – and we achieved this.”

Controlled amplification
Oliver Voges introduced a minimal, controlled amplification that corrected the room effects, stacking the orchestra as on a recording while keeping the typical timbre of the instruments, thus recreating the depth of the room and of the instruments. In addition, Jonathan Stockhammer made some minor musical changes to cater for the room, and these joint efforts created a sound that was pleasant for the audience and ideal for the 9.1 recording.

The actual amplification of the orchestra started out at 0.8 dB above the natural level with the first piece by John Adams and was increased during the first half of the concert to about 1.5 dB to set the acoustical scene for Imogen Heap and the orchestra in the last piece before the intermission. Oliver Voges: “By inaudibly increasing the amplification throughout part I, we avoided any acoustical gap, so the whole concert sounded a unified, homogeneous whole. During the rehearsals, we always checked back about the amplification with all parties involved – ‘Is that OK with you? Does it disturb you in any way?’ Basically everything is linked – the orchestra is linked to Imogen, the FOH is linked to monitors and on top of that there’s the link to the recording – we want to have a good show but also a very, very good recording. I think we have come up with a very good solution that does justice to all elements. After two rehearsal days, Gregor came up to me and said: ’Listen, if the PA is on, the recording sounds even better.’ What more could you ask for?”

Dante saves time, cabling… and nerves!
The audio crew used a Dante network for the event. Oliver Voges explained, “As there are two completely different set-ups for this event, we decided from the very beginning that we would have two different crews to handle each. We had a monitor and a front-of-house engineer for Imogen Heap, and we also had monitors and FOH for the orchestra. During rehearsals we found that we had to put out sums from the orchestra to Imogen’s monitor engineer, and so on. There was a lot of linking that was unplanned. Luckily, we had placed the four desks in a Dante network, and within a few seconds I could give anyone an effects return from my desk or a submix from the orchestra. Without Dante patching anything to anywhere, these extras would have taken us another two days and a lot of cabling!”

The 9.1 immersive audio recording
“A 9.1 recording allows me to transport an entire concert hall onto a recording”, explained Grammy award-winning tonmeister Gregor Zielinsky. “Even if I used just the main microphones without any spot mics this would give me a depth of the soundstage which cannot be achieved by standard recording techniques.

“When replaying a 9.1 immersive audio recording, you can move around the room as if moving through the actual concert hall. You will be immersed in the sound of the hall, and changing your listening position would just mean changing your virtual position within the venue but won’t deteriorate the sound – there is no such thing as a sweet spot in 9.1, all spots are great.”

He positioned the main microphones in the eponymous Zielinsky Cube, which includes a height elevation to recreate the spatial impression. For the Zielinsky Cube, a standard AB stereo pair is supplemented by two microphones positioned well above them – these are the front microphones, a center mic is optional. The same set-up is repeated at the rear. The set-up essentially follows the ITU 5.1 loudspeaker arrangement, and adds four upper microphones, with the elevation amounting to half of the stereo width.

“I have done many 3D recordings but never in such a difficult live situation. To avoid interfering with the recording, the PA has a standard left and right set-up with extremely precise positions and specific coverage. We accepted a little gap in the center, where the main microphones for the 9.1 recording are positioned. Actually the slight amplification introduced by the PA ‘aligns’ everything, as it were, and helps us to eliminate unwanted reflections and delays caused by the acoustics of the hall. ”

“In the recording, we have a total of 48 mics for the orchestra, and more than fifty channels for Imogen. In total, we are talking about 128 channels for the recording.” The main microphones were four MKH 800 TWINs used as the front microphones in the Zielinsky Cube. Each MKH 800 TWIN has two capsules with signals that can be accessed separately and used to create any pick-up pattern – remotely and in post. Four MKH 8090 wide cardioids were used as the rear microphones. “I additionally used KM 133s as front main microphones, as this gives me further possibilities for fine-tuning the sound. In such complex situations you need to have many options in order to react quickly, and Sennheiser and Neumann microphones complement each other very well,” explained Gregor Zielinsky.

The spot microphones also were a combination of Sennheiser and Neumann microphones. The strings were captured with Neumann KM 185s and KM 184s, as Zielinsky points out: “The Neumann mics have a distinctive signature sound, and are very effective at capturing more of the trebles, which is great for the string sections in the mix.” The woodwinds were also picked up by Neumann KM 184, as were the harp and celesta. Four Sennheiser MKH 8090s were used to mike the brass section. Sound from the percussion sections was captured by seven Sennheiser MKH 8040, with two MKH 8050 used for the timpani. A Sennheiser e 912 condenser boundary microphone was used for the solo piano, while two Sennheiser Digital 9000 wireless microphones were used for lead vocals and moderation.

A new microphone set-up was then created during the intermission for Imogen Heap’s band and the string quartet and brass players from the Junge Deutsche Philharmonie who joined the band during the performance. A Sennheiser e 912 was used for the piano, an e 902 for the bass drum, and an e 905 for the snare drum. Two Sennheiser MK 8s were used as overheads and a further two for the vibes. Four Neumann KM 185s captured the string quartet, and two KM 184s the brass instruments. Imogen had also brought her “creatures”, a set of percussion instruments which became ‘alive’ via MIDI signals and were picked up with various Sennheiser evolution microphones plus MK 4 and MK 8 large-diaphragm condensers.

In the control room, where the recording desk was manned by Peter Brandt of Remote Recording Network, Neumann KH 120 loudspeakers and KH 810 subwoofers ensured an impressive 3D audio playback. “9.1 immersive audio creates a truly new experience for the listener,” explained Zielinsky. “I like to compare it to the changeover from mono to stereo – it is an equally dramatic improvement in the music. 3D immersive audio is remarkable to experience, but also very simple to set up and record compared to other systems.”

Heralding a new high-end product to come

The 3D immersive audio technology demonstrated by Gregor Zielinsky was one of several cutting-edge developments showcased on the evening: alongside the public concert itself, Sennheiser also provided VIP guests with a first glimpse of a forthcoming milestone high-end product, kicking off the first stage of the unveiling that will be continued with the launch of a dedicated website,

Thursday, September 17, 2015

Press Release - Zotope Announces RX Post Production Suite and RX 5 Audio Editor

Amsterdam, Netherlands (September 9, 2015) - At IBC 2015 (stand 8.D70), iZotope, Inc., a leading audio technology company, is announcing the new RX Post Production Suite containing a comprehensive suite of tools designed specifically to enable professionals to better edit, mix, and deliver their audio, as well as RX 5 Audio Editor, a significant new update to its RX platform.

The new RX Post Production Suite contains products aimed at every stage of the audio post production workflow, with solution-oriented tools for everything from audio repair and editing, to mix enhancement and final delivery. The RX Post Production Suite includes:
  • RX 5 Advanced Audio Editor
  • RX Final Mix
  • RX Loudness Control
  • One-year, All-Access Pass to Groove3 online video courses & training
  • 50 free sound effects (customer's choice) from Pro Sound Effects

The new RX 5 Audio Editor and RX 5 Advanced Audio Editor efficiently repair and enhance common problematic production audio while speeding up workflows that currently require either multiple manual editing passes, or a non-intuitive collection of tools from different vendors.  

RX 5's new Instant Process tool lets editors "paint out" unwanted sonic elements directly on the spectral display with a single mouse gesture. The new Module Chain allows users to define a custom chain of processing (e.g. De-click, De-noise, De-reverb, EQ Match, Leveler, Normalize) and then save that chain as a preset so that multiple processes can be recalled and applied in a single click for repetitive tasks.

For even faster workflows between Pro Tools and RX 5, RX Connect has been enhanced to support individual Pro Tools clips and crossfades with any associated handles so that processed audio returns "in place" to the Pro Tools timeline, maintaining complete editing control.

In RX 5 Advanced, a new De-plosive module has been developed to minimize plosives from letters such as p, t, k, and b, in which strong blasts of air create a massive pressure change at the microphone element, impairing the sound. In addition, the Leveler module has been enhanced with breath and 'ess' (sibilance) detection for increased accuracy when performing faster than real-time leveling. Likewise, new enhancements for the Ambience Match module improve accuracy for creating noise profiles when matching background noise to mask edit points. Ambience Match is now also available as AudioSuite plug-in for constructing consistent ambience beds under constructed sentences and ADR lines directly from within Pro Tools and Media Composer.

"Our users have helped make RX the industry standard in audio post production. This evolution to the RX Post Production Suite is just the start of our continued journey into building the award-winning, workflow-enhancing tools our users dream of as they seek to deliver the best-sounding audio they can under increasingly tight and oppressive deadlines," said Matt Hines, Audio Post Product Manager for iZotope.


Both RX 5 Audio Editor and RX 5 Advanced Audio Editor can be used as a standalone audio editor, as a standalone audio editor connected to your host, or as a plug-in. Supported plug-in formats include AU, VST, VST 3, AAX, RTAS and AudioSuite.

RX Post Production Suite Availability and Pricing

RX Post Production Suite is available for purchase now.

Customers who purchase the RX Post Production Suite during the promotional period will receive RX 4 Advanced immediately, and will be given RX 5 Advanced Audio Editor when it is released.

Special promotional pricing is available through October 21, 2015:
  • New customers may purchase the RX Post Production Suite for $1,299 USD / €1,189 EUR  (reg. $1,499 / €1,369).
  • Customers upgrading to the RX Post Production Suite from previous versions of RX can view upgrade pricing at

RX 5 Audio Editor Availability and Pricing

RX 5 Audio Editor and RX 5 Advanced Audio Editor will be available for purchase in October 2015 for both new customers and upgrading customers.

Going forward from today, customers who purchase RX 4 or RX 4 Advanced will get a free upgrade to their respective version when RX 5 Audio Editor is released. In addition, any customers who have purchased RX 4 or RX 4 Advanced since August 8, 2015, will also a receive a free upgrade to their respective version when it is released.

To celebrate the coming of RX 5 Audio Editor, special promotional pricing is available through October 21, 2015:
  • New customers may purchase RX 4 Advanced for $999 USD / €929 EUR (reg. $1,199 / €1,099)
  • New customers may purchase RX 4 for $299 USD / €285 EUR (reg. $349 / €325) 
Customers upgrading to RX 5 Audio Editor or RX 5 Advanced Audio Editor from previous versions of RX will receive their promotional upgrade offers at product launch. In the meantime, special upgrade pricing can be previewed at

About iZotope, Inc.

iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar- and Emmy-winning film and TV post-production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®.

For more information on iZotope products, please visit

Monday, September 7, 2015

Press Release - iZotope Offers Free Mastering Presets Designed by Greg Calbi

Cambridge, MA. iZotope, Inc., a leading audio technology company, has teamed up with Greg Calbi to offer presets designed by the prolific senior mastering engineer. Built for users of Ozone, each preset is designed as a starting point for mastering and crafted to achieve a certain sonic goal.

Greg Calbi has mastered over 7,500 albums and worked with artists including The Ramones, The Talking Heads, Bruce Springsteen, Paul Simon, and Lady Gaga. He uses iZotope's critically acclaimed mastering toolkit Ozone on a daily basis. The presets he has designed for his own projects are now available to all Ozone users to help elevate their mixes to professional-sounding masters. 

Calbi's presets cover such sonic ground as their names suggest: General Clarity, Quick Limiting, Smooth Bass, and Upper Harmonics, as well as several presets for High, Midrange, and Low Detail. 

"The presets serve as a window into where a mix can go, an entrance to something you can manipulate further," he says. "Having Ozone and the availability and the flexibility of the presets makes the job a lot easier."

More tips for success with the Greg Calbi Mastering Presets for Ozone, including audio examples, can be found in iZotope's tutorial. Learn more about Ozone on iZotope's website and learn more about Greg Calbi on iZotope's blog.

Availability Greg Calbi Mastering Presets for Ozone are now available for free on iZotope's website.

Ozone 6 and Ozone 6 Advanced are on sale for $199.00 USD (reg. $249) and $574 USD (reg. $999) through July 30, 2015.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®. For more information on iZotope products, please visit

Monday, August 31, 2015

Press Release - Producer/Multi-Instrumentalist Behind Celldweller Unlocks a Brand New Cosmos of Sound with Antelope Audio's Orion32

Celldweller has been forging a reputation since the early 2000s for visceral, driving music that seamlessly blends rock and electronica in a way that could only be achieved by way of his unique larger than life productions. While his creative approach to sound has remained constant since his first Celldweller releases, his gear has continually evolved. Working out of his Detroit studio, he recently overhauled his system to take advantage of the industry-leading clocking and conversion of Antelope Audio’s Orion32.

This multi-instrumentalist, who fans know as Klayton, considers any sound fair game for his compositions. “I will pick up anything around me that makes sound and try to figure out a way to use it,” Klayton explains. In the midst of a busy summer putting the finishing touches on his latest Celldweller release End of an Empire, Klayton is working on two film scores and preparing to work on a video game score in the fall that he recently signed on to compose. “I like to stay busy,” he says.

Breaking the Cycle
Klayton’s previous audio interfaces were part of an incumbent fixed hardware and software system that was no longer meeting his needs. “I was really tired of the expensive upgrades and poor support and was looking to branch out on both the hardware and software fronts,” he says. He stumbled across the Orion32 because of its features. “It had D-SUB input and output, it had dual ADAT in and out which I use for my modular synth setup, and it had the world-renowned Antelope clock — plus the fact that it could stream 32 channels over USB, which was dumbfounding,” Klayton recalls. He soon acquired two Orion32 units and added MADI cards to enable access to the full 64 channels of I/O. “The sound quality is incredible,” he says. “I very quickly threw my old converters up on eBay and never looked back. I even got rid of my old stand-alone master clock.”

Perfect Every Step of the Way
When Klayton puts together a Celldweller track, he handles every aspect of the production from the tracking to mixing to mastering. The Orion32 excelled every step of the way, enabling a great workflow and commanding results. “The Orion is great for tracking, it’s really responsive and sounds great on both top end and low end and latency is really low,” says Klayton, who uses the Orion’s inputs exclusively for everything from guitars to strings to synths. The generous number of input and output channels also did wonders for his workflow. “I’m a one man band, so having 64 channels of I/O is great because I can have everything from guitars to synth patched and ready to go at all times,” he says. “I also leave some of the channels on the Orion set up as inserts for my outboard gear, which lets me patch it into my DAW as easily as I could a plugin.”

Bridging Worlds: Analog and Digital
On Celldweller’s upcoming release End of an Empire, Klayton found himself mixing analog and digital sound sources and external processing more adventurously than ever before. “There’s more analog synthesis and outboard gear on this album than anything I’ve done in my career, and the warmth of those sounds is retained by the Orion on both input and output, which is key.”

Klayton concedes that mixing a Celldweller track is a complex endeavor, so the clarity of the Orion’s outputs is key in helping dial in just the right settings. “I jam so many elements into one track that it can be a struggle to try to make everything sound good together,” he explains. “I definitely found that I wasn’t wrestling against the interface to try to get my top-end and low-end clarity, which was an improvement over other rigs I had used.” Klayton is also now able to take advantage of the full range of audio software available on the market without the restrictions of his previous hardware. “It’s great to be able to run any software I can get my hands on with the full 64 channels of pristine I/O from my Orions.”

Curiously creative by nature, Klayton’s work is constantly evolving as he experiments with new sounds to incorporate into his compositions. “I just bought a cello, mostly for sound design stuff,” he says. “I’m not planning on playing a concerto at any point.” With the Orion32 as the core of his studio setup, he knows he has the right tools to capture any sound he can produce and help conjure any sound he can imagine. His words of wisdom for fans and fellow producers: “Your ear is your most valuable tool in all of this, but having great gear goes a long way.”

About Antelope Audio

Antelope Audio is a leading manufacturer of high-end professional audio equipment and the pioneer in the adoption of Atomic clock generators. The company utilizes Igor Levin's more than 20 years’ experience in digital audio to develop professional and consumer high-end products with the signature Antelope Audio sound. The company employs proprietary clocking and jitter management technologies as well as custom-designed digital and analog circuits to provide both professional audio engineers and music aficionados with unprecedented musicality, sound stage and clarity. Antelope is the first to design a 1U 32-channel audio interface and a multi-channel portable interface with 12 mic pres. Antelope's breakthrough technologies are offering both studio and live audio engineers great productivity and flexibility. 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.

Monday, August 24, 2015

Press Release - iZotope Launches Mastering Academy with Jonathan Wyner

Audio professionals will learn how to produce their best-sounding masters through hands-on mentoring

Cambridge, MA.  iZotope, Inc., a leading audio technology company, is now accepting applications for its first-ever Mastering Academy event for audio professionals taking place July 23-25, 2015.

Led by iZotope's Education Director and GRAMMY-nominated mastering expert Jonathan Wyner (David Bowie, Howie Day), with special guest Adam Ayan (Carrie Underwood, Pearl Jam), this intensive workshop combines small-group instruction with hands-on practice. Personalized mentoring from Jonathan will help take students' mastering abilities to the next level.

The majority of the training takes place in iZotope's brand-new, fully equipped mastering studio in Cambridge, MA. In this acoustically optimized listening environment, participants will learn advanced mastering techniques and best practices on a full range of state-of-the-art equipment.

Students will analyze their own habits and patterns through feedback and insight from world-renowned mastering professionals. They'll also add new pro audio skills to their arsenal, learn time-tested strategies for dealing with clients, and grow their network of pro audio peers.

"It's a real thrill to be launching our first major learning initiative of this scale," says Jonathan Wyner. "Education has always been a personal passion of mine, so I'm looking forward to working with students individually. I'll be sharing strategies and techniques so they can tackle their next mastering project with greater confidence."

The event includes tours of iconic musical sites in Boston including Symphony Hall and Berklee College of Music.

Mastering Academy is the culminating event of iZotope's "Mastering Education" month. Throughout July, iZotope will offer events and resources designed to help audio professionals achieve better-sounding mastering results in their studios.

How to Apply:
Visit for more information and for application deadlines.

About iZotope, Inc.
iZotope makes innovative products that inspire and enable people to be creative. Based in Cambridge, Massachusetts, iZotope has spent over a decade developing award-winning products and audio technologies for professionals and hobbyists alike. Used by millions of people in over 50 countries, iZotope products are a core component of GRAMMY-winning music studios, Oscar and Emmy-winning film and TV post production studios, and prominent radio studios, as well as basement and bedroom studios across the globe. Through a robust licensing program, iZotope also powers products made by industry partners such as Adobe, Avid, Microsoft, and Sony. iZotope was recently honored with an Emmy® Award for Outstanding Achievement in Engineering Development for its flagship audio repair suite, RX®. For more information on iZotope products, please visit

Monday, August 17, 2015

Press Release - Sennheiser and Linkin Park Empower Music for Relief – Linkin Park’s Wireless Microphones Find a Home with Lucky Fans at Charity Auction

Old Lyme, Conn. When the Indian Ocean tsunami devastated Southeast Asia in 2004, rap-rockers Linkin Park endeavored to leverage their international fanbase to assist. Shortly thereafter, they founded Music for Relief: a charity that helps artists and fans connect to provide relief for natural disasters around the world. The organization’s vital mission is to mitigate and prevent the damaging effects of these disasters through environmental initiatives including forest preservation and tree planting. Linkin Park has remained instrumental in raising funds for Music for Relief, and recently worked with Sennheiser to provide several SKM 2000 wireless handheld transmitters with MME 865-1 capsules for an auction fundraiser – including some autographed by the band.

“When a natural disaster occurs, many people out there want to help in some way but don’t know how,” says Kimberly Hurtarte, Advancement Associate for Music for Relief. “Linkin Park knew they were in a position to mobilize not only their fans but also other bands to get involved.” Since 2005, Music for Relief has raised over $7 million for survivors of multiple disasters across four continents including Hurricane Katrina, China’s Wenchuan earthquake, a cholera outbreak in Zimbabwe, earthquakes in Haiti and Japan in 2010 and Typhoon Haiyan in the Philippines. More recently their ecology and prevention efforts have taken center stage in places like Baja California, where the organization has been working to protect mangrove forests, which serve a critical role in protecting the coastline from deforestation and development.

Coming Together for Relief
Companies like Sennheiser are part of the enthusiastic network of friends and sponsors that Linkin Park and their compatriots are able to call upon to further their fundraising efforts. Recently, when the call went out for items to offer at an auction benefiting Music for Relief, Linkin Park reached out to Sennheiser, which assisted in providing several SKM 2000 handheld transmitters coupled with MME 865-1 capsules: the choice mic and capsule configuration of Linkin Park vocalists Chester Bennington and Mike Shinoda. The auction was further enhanced by Linkin Park’s donation of their very own tour-utilized SKM 2000 microphones signed by the band.

“Sennheiser is proud to play a role in a caring musical community, particularly one that is able to mobilize relief efforts for those impacted by natural disasters,” commented Pierre Morant, Sennheiser’s Manager, Music Collaborations. “We could not be more pleased to play a role in such an important endeavor.”

A Cut Above
Linkin Park began using the Sennheiser SKM 2000 with MME 865-1 capsule in 2010 after monitor engineer Kevin McCarthy conducted a shootout of 10 transmitter and capsule configurations from major manufacturers. “The SKM 2000 with 865 capsule was the clear winner,” McCarthy says. “The sound quality is amazing and wireless functionality is extremely reliable.” McCarthy also noted that the capsule performed evenly even when Bennington and Shinoda were wrapping their hand directly around the capsule, a common microphone technique during energetic live performances. “A lot of the mics we tried sounded completely different when they wrapped their hand around the capsule, but the 865 sounded exactly the same, which makes it much easier to get an even sound throughout the performance,” he says. Linkin Park have been touring with six sets ever since. These mics include a main and back up for each lead vocalist as well as two sets for any guest vocalists that might join them on stage. Three of these road-used mics were donated to Music for Relief for the charity auction. “These are really popular with fans so they usually bring in a significant contribution,” says Hurtarte.

Music for Relief distributes the funds they raise to organizations and individuals working on the ground around the world. “Our supporters like that we’re less bureaucratic than many humanitarian aid organizations, it’s more of a hands-on operation,” notes Hurtarte. “The fans and artists we work with are very much a part of the process and they always want to know exactly who we’re working with and how the funds are being utilized. We can provide a level of transparency that’s not usually available in larger-scale organizations.”

A Growing Effort
Humbarte is quick to point out that Music for Relief now incorporates many artists beyond Linkin Park, though the band remains active on the board of the organization and contributes a dollar for every ticket of every show to the organization. “We’re grateful to be able to empower all kinds of different artists and their fans to make a difference globally, and we couldn’t do it without the support of sponsors like Sennheiser who help keep our operations funded year-round,” Hurtarte concludes.

About Music for Relief
Founded by two-time Grammy winning/multi-platinum rock band Linkin Park, Music for Relief is a 501 (c) (3) non-profit organization dedicated to providing aid to survivors of natural disasters and the prevention of such disasters.  Since its inception in 2005, Music for Relief has raised over $7 million for survivors of multiple disasters across four continents. Music for Relief also supports environmental programs as a means of disaster risk mitigation including the planting of over 1 million trees to help reduce global warming and Power the World, a program bringing clean energy solutions to the 1.3 billion people worldwide without electricity.  The organization was recently recognized by UN Secretary-General Ban Ki-Moon for the Download to Donate program to raise funds and awareness in the aftermath of the Haiti earthquake. For more information visit

About Sennheiser
The Sennheiser Group based in Wedemark near Hanover, Germany, was founded in 1945 and has gone on to become a leading manufacturer of microphones, headphones and wireless transmission systems. Sales in 2013 totaled 590.4 million euros. Sennheiser employs more than 2,500 staff worldwide and operates plants in Germany, Ireland and the USA. The company has a worldwide network of subsidiaries in France, Great Britain, Belgium, the Netherlands, Switzerland and Liechtenstein, Germany, Denmark (Nordic), Russia, Hong Kong, India, Singapore, Japan, China, Australia and New Zealand, Canada, Mexico, and the USA. It also has long-established trading partners in other countries. Georg Neumann GmbH, Berlin, a maker of studio microphones and monitor speakers, and Sennheiser Communications A/S, a joint venture making headsets for PCs, offices and call centers, are also part of the Sennheiser Group.

More information about Sennheiser is available on the internet at

Monday, August 10, 2015

Power Up or Down Your Gear in the Correct Sequence!

 Proper Power Management for the stage and studio

Atlanta, GA (June 17, 2015) - The Rockn Stompn RS-4 foot-activated sequential power strip is designed to automatically power up or down a musician's set of gear in the proper sequence, every time, providing protection and convenience on stage or in the studio.

"Musicians know the importance of powering up and down gear in the right order to avoid power surges and pops, but it's not always easy to do," says Kimball Magee of Rockn Stompn. "The RS-4's four-step power sequencer automates this process, and gives you the ability to safely power up far more gear than ever before on a single 15 amp circuit.  By consolidating all your gear into one power strip you greatly reduce noise and potential hazards created by external ground loops."  

Previously, pro audio power sequencers were rack mounted and limited to large professional audio performances. The RS-4 is transportable and no rack required. "It's perfect for guitar rigs with multiple amps or multiple processors," adds Magee. "It's also great for bass, keyboard rigs, PA systems, and home studios to protect amps and speakers."

Every musician or band's rig is different. To allow for varying power-up times for both vintage tube amps and modern solid state equipment, the RS-4 delay for both on and off sequences are user adjustable from 1 to 15 seconds, ensuring equipment will perform better and last longer. The unit also provides surge protection, EMI/RFI noise filtering, power conditioning, and over-voltage/over-current protection. 

The Rockn Stompn power strip is the result of decades of engineering and manufacturing knowledge, and four years of intense research and development in collaboration between engineers and musicians to produce the ultimate power strip for musicians. With a fully welded stainless steel enclosure, the RS-4 is American-made and comes with a lifetime warranty.

"As musicians, we are very invested in our gear," sums up Magee. "Looking after the power requirements is an often overlooked, but important element in making it last for a very long time."

Price and Availability:
The Rockn Stompn RS-4 is available now from and at authorized guitar dealers for $299. 

Monday, August 3, 2015

Press Release - For Queens of the Stone Age, Sweethead and Other Projects, Guitarist Troy Van Leeuwen Plugs Into BAE Audio

North Hollywood, CA, – Since 2002, Troy Van Leeuwen has been captivating audiences around the world with his chunky rhythm guitar and searing leads as a member of revered hard rock band Queens of the Stone Age. His distinctive guitar style has also surfaced in acts including A Perfect Circle and Sweethead. With QOTSA currently on hiatus, Van Leeuwen has been focusing his energy on other projects including Sweethead’s latest album — keeping BAE Audio preamplifiers close by his side.  

Tracking both records primarily in his home studio, Van Leeuwen uses a combination of BAE Audio preamplifiers to capture the sounds and performances he and his bandmates create in the studio, citing the gear's ability to achieve "the coveted performance of vintage British preamps" — coupled with the durability of BAE Audio’s modern construction and hand-wiring.

Van Leeuwen became acquainted with BAE Audio preamps during QOTSA sessions at a Los Angeles recording studio, Pink Duck. “We used a lot of BAE Audio mic pres on the last record,” he says. After hearing the performance of BAE Audio’s 312A and 1028 preamplifiers at Pink Duck — and subsequently meeting BAE Audio President Mark Loughman, Van Leeuwen outfitted his home studio with many of the same BAE Audio preamps that were present in Pink Duck. Since then, the BAE Audio's 312A and 1028 have featured prominently in all his recent tracking sessions.

Two Sizes Fit All
“Between the 312A and the 1028 you can really get everything you need,” Van Leeuwen observes. “On drums I’m using the 312A on everything except kick and snare. They’ve got a punch to them and a quick attack that really lets the character of a well-tuned tom come through.” The 312A also pairs well with ribbon microphones, Van Leeuwen’s preferred choice for overheads. “Ribbon mics don’t sizzle your ears off with high end from the cymbals which I really appreciate. The 312A has plenty of gain and really captures what they’re doing on the kit.” For the kick and snare, he calls the 1028 into service to add some bite. “I like to drive the input so there’s some extra crack to the attack, and the 1028 is perfect for that.”

Bass guitars also get the 312A and1028 treatment, he says: "I'll use a 312 with a DI to take a direct signal and then also route it out to an amp, which I’ll mic up into the 1028. I like the attack of the 312 and then I’ll get the roundness and warmth of the speaker cab, which can benefit from the EQ options of the 1028.”

Preserving Sonics in the Signal Chain
But what about Van Leeuwen primary weapon, the guitar? “Whether it’s for Queens of the Stone Age or my other projects, we’re getting the sounds we want for the guitar with our amps and pedals. So what we really need is a preamp that will capture that sound with no frills and the 312A is perfect for that. It has a little punch to it, but otherwise it’s not really coloring the sound, so it does exactly what we want," he explains.

Van Leeuwen says that BAE Audio preamplifiers will remain a fixture of his recording signal chain for the foreseeable future. “Anything that I’m doing at my studio at home I’m using it. And when we start doing the next Queens of the Stone Age record I’m sure we’ll be using it for that too,” he says. 

“I am a big fan of old technology with new components because it’s so much more reliable than vintage gear. With BAE Audio you’re getting everything you love about the sound of that vintage gear, but without the headaches of old technology," he observes. He and his bandmates are so confident in the performance of their BAE Audio gear that they’re planning to take it on the road for live performances next time around. “We’ve just been getting into patching in our own compression and signal processing when we go on the road, so it would be nice to bring some of those 1028s as well.”
For more information on any of BAE Audio's preamplifiers, please visit

About BAE Audio

BAE Audio is a U.S.-based manufacturer of high-end microphone preamp and equalizers, all of which are faithful to vintage designs of the seventies and before. The company is committed to the vintage philosophy of hand wiring and hand soldering all of its components to achieve a high quality and authentically vintage sound. For more information on BAE Audio, please visit our website at