NAMM: Audiofile Releases Triumph 2.5

Press Release:  A next-generation tool for audio editing, mastering, sound design,  podcasting and post-production Audiofile, a leading music technology company, announces the release of Triumph 2.5 on the Mac App Store. Built on the success of the company's Wave Editor, Triumph 2.5 represents the next generation in audio editing, mastering, sound design, podcasting and post-production with new features, powerful DSP and a refined workflow. Triumph 2.5 is a significant step forward in Triumph's evolution. Audiofile has improved workflow efficiency by redesigning the Render Assistant with the ability to render and export multiple formats simultaneously, allowing assets to be auditioned more easily by clicking "play" in an asset's popover, and by adding video import functionality, which will appeal to sounds designers and those working in post-production. Triumph 2.5 also represents a significant step forward for sample rate conversion and dither as it now includes algorithms by Goodhertz, creators of Triumph's digital scrubbing feature and FHX™ headphone listening DSP. Goodhertz' mastering-grade audio sample rate converter combines incredible sonic performance with unmatched speed and efficiency for a nearly ideal frequency response, preserving high frequency content and eliminating aliasing. Goodhertz dither is a custom-tailored noise shaping algorithm that, rather than relying on noisy peaks or drastic high frequency shaping, always remains smooth and natural sounding while preserving every possible detail of the audio.    "The Triumph workflow is revolutionary," adds Ricardo Gutierrez, Grammy-winning mastering and mix engineer. "It's a great Swiss army knife. The fact that it can play back different sample rates in a project is amazing. The shapes used for automation, and the way you can snap to grid the different shapes, is really cool. I'm fully in the box now with mastering and finally have the tools and plug-ins to work in the box. I haven't touched my analogue gear since the summer. Clients want things so fast and Triumph lets you do that!" Other additions and enhancements to Triumph include: Greatly improved performance and stability Optimized for OS X 10.10 Yosemite Enhanced editing of individual channels in the Waveform View Adds an option to import DDP sets from the File menu Improved SoundCloud integration Improved multichannel file support iZotope MBIT+ Dither™ and 64-bit SRC™ are now available by purchasing an additional license from the Audiofile online store or via in-app purchase in the Mac App Store version Various improvements to key commands Improved User Guide "I really like this app a lot," said Rich Breen, Grammy-winning recording, mix and mastering engineer. "Of course, most important are the sonics, and I've found it to be totally solid in this respect. For scripting, I can either duplicate and edit an existing script directly in Triumph, or copy it into AppleScript Editor and edit there for greater flexibility - I don't know of any other audio apps that offer this kind of feature." Pricing and Availability Triumph 2.5 is now available on the Audiofile website for $79.99. Triumph 2.3.2 is available on the Mac App Store for $79.99 with free update coming soon. For product and ordering information or to download a demo, visit http://www.audiofile-engineering.com/triumph/.

NAMM: Antelope Audio to Demonstrate Zen Studio, Satori Monitor Controller, Pure2 Mastering Converter and MP32 Preamplifier

Press Release: 

During the 2015 NAMM Show this week, leading digital audio manufacturer Antelope Audio [Hall A - Booth 6274] will demonstrate the detail, purity and flexibility of the newest products in its lineup of professional audio products: the Pure2 mastering converter, the MP32 microphone preamplifier, the Satori monitoring controller, and of course the Zen Studio — which has received industry accolades and a TEC Award nomination during 2014.

The new products, which are all shipping as of this month, bring unprecedented detail, depth, clarity and transparency to professional users' audio signal chain, while extending usability with an array of product features and multiple I/Os. Antelope Audio will also showcase new accessories for Zen Studio including its new Z-rack mounting system and a Zen Studio embroidered protective carrying case, an elegant solution designed for ease of use and portability.

Zen Studio: A Fully Featured Recording System 'To Go'

Zen Studio, which is nominated for the 30th Annual Technical Excellence & Creativity (TEC) Awards in the 'Computer Audio Hardware" category, is a full-featured audio interface, clock, preamp, and monitor controller in an ergonomic and robust road-ready chassis.

Featuring 20 analog inputs, 12 world-class mic preamps, Antelope's acclaimed conversion and clocking, onboard DSP effects, multiple monitor mixers, custom high-bandwidth low-latency USB, and Mac/PC control software, Zen Studio is a powerful core to any professional mobile recording studio.

Pure2, Satori and MP32: The Enlightened Audio Chain

The combination of the Pure2 mastering converter, the Satori monitor controller and the MP32 preamplifier, which will each be demonstrated at the Antelope booth, brings a new level of detail and purity to any signal chain.

Pure2 is a mastering-grade 24/192 kHz AD/DA 2-channel converter and master clock, enabling users to realize unsurpassed digital clarity and analog realism, while offering a flexible set of connectivity options and extremely efficient and ergonomic software remote control. With best-in-class Burr-Brown converters and the same Acoustically Focused Clocking (AFC) technology present in Antelope's ultra high-end Trinity master clock, Pure2 helps musicians and engineers achieve new levels of mastering excellence. 

MP32, a 32-channel, console-grade microphone preamplifier with integrated software control, is designed to compliment Antelope's Orion32 and provide the greatest possible transparency during the recording process. Occupying just 3U rack spaces make the MP32 the ultimate solution for both studios and live recording — where rack space can be a precious commodity.

Satori, meanwhile, is a true analog monitoring and summing system designed to deliver an 'epiphany' experience to the sound engineer. Antelope's renowned relay-controlled stepped attenuator, the extremely versatile connectivity options and great selection of stereo effects and comprehensive monitoring options, place the Satori among the most advanced monitoring controllers in the world, and make it equally suited to both commercial and project studios.

To learn more, stop by Antelope's booth at the NAMM Show or visit Antelope's web site at:  http://www.antelopeaudio.com.

NAMM Preview: Back to the Future Sounds: Moog Recommences Manufacturing Large Format Modular Synthesizers

Press Release: 

50 years ago, at its first introduction, the Moog modular synthesizer represented as radical a transition as Kandinski’s abstracts or Kodak’s cameras – offering both a break from yesterday and a startling glimpse of tomorrow. And, as with all cultural explosions, the impact of Dr. Bob Moog’s invention was impossible to evaluate from the epicenter. It’s only now, 50 years down the line that we can get some measure of the importance, and the sheer untapped potentiality of the Moog Modular Synthesizer.

Today, it is with great excitement that Moog Music Inc. announces their plans to re-commence the limited run manufacturing of three of their most sought after 5U large format modular synthesizers: The System 55, the System 35 and the Model 15. These three modular synthesizer systems were originally created and manufactured by Moog in 1973. 

To commemorate the announcement, Moog shot a short film at their factory about the inspiring and multifaceted relationship artists have with modular synthesizers. The video features electronic music pioneers such as Suzanne Ciani, Malcolm Cecil, David Borden, Dick Hyman and Herb Deutsch alongside performances by contemporary modular artists like Holy Ghost! (DFA), Gavin Russom (ECSTATIC/Entropy Trax), Max Ravitz AKA Patricia (L.I.E.S./Spectral Sound/Opal Tapes), Kaitlyn Aurelia Smith (Western Vinyl), Jacques Greene (Vase/LuckyMe) and M. Geddes Gengras (Stones Throw). Each artist played a patch live, in one take, with no overdubs on one or more of the new Moog Modular systems.

The foundation for this announcement was laid last year at Moogfest 2014, when Moog released the Emerson Moog Modular system – a faithful recreation of Keith Emerson’s legendary modular instrument, which was the culmination of three years worth of research and engineering. Now Moog will use the techniques learned recreating the EMMS manufacturing process to once again build these modular systems. Crucially, in deference to the unique character and appeal of the original instruments, these systems will be made entirely to their original product specifications and manufacturing techniques and processes.

Working from the 1970s schematics, the System 55, the System 35 and the Model 15  will be meticulously handcrafted, as a true recreation of the original. The modules are built from the original circuit board films - just as they were in 1973- by hand-stuffing and hand-soldering components to circuit boards, and using traditional wiring methods. The front panels are photo-etched aluminum, a classic process rarely still used in today’s synthesizer manufacturing, to maintain the classic and durable look of vintage Moog modules.

Upon their first release in 1973, the System 55, the System 35 and the Model 15 represented a high watermark for modular synthesis, and their inimitable tones can be heard shaping many much-loved albums. They were fundamental in the development of contemporary soul, RnB, and disco from giving Stevie Wonder’s classic run of 70s LPs their questing, innovative edge, to providing Giorgio Moroder with the pulsating machine melodies that ushered in electronic dance. At the same time, these were the instruments that inspired Brian Eno to push further out into seas of layered tranquillity on his pioneering ambient albums, or provoked bands like Yes and Tangerine Dream to blast their sonic freak outs into the cosmos.

However, the reintroduction of these instruments is not about reliving the past – while much incredible work has been done with the Moog Modular, there is so much further yet to be explored in this relatively young instrument. Artists had only begun to grasp the vast possibilities of these large format modular synthesizers when they went out of production over thirty years ago.  Decades of electronic experimentation have enabled musicians to move on from viewing the Moog Modular as a replacement for traditional instrumentation. Now a new generation of artists, with a greater understanding and more complex tools, will have the opportunity to explore the power of these singular sonic machines.  Today, the modular synthesizer is viewed in the manner Bob Moog originally intended: to “discover endless offbeat, unconventional, and even irrational ways of working.”

The dedicated nature of the Moog modular rebuilding process is such that the units will come in extremely limited quantities. There will be 55 units of the System 55, priced at $35,000 per instrument; 35 of units of the System 35, priced at $22,000 per instrument; and 150 units of the Model 15, priced at $10,000 per instrument.

Alongside these Moog Modular Systems will be the Sequencer Complement B Expansion Cabinet, a dual 960 Sequential Controller, an accompaniment to the System 35 and System 55, that has been out of production for over 30 years– as well as an optional 5-Octave duo phonic keyboard.

Links:

Video:

http://youtu.be/3w6qWiEx8BQ

Modular Systems:

http://www.moogmusic.com/moog-modular-synthesizers

NAMM Preview: TC Electronic Introduces New Loudness Normalization Plug-In with Stand-Alone Capability

Press Release: TC Electronic Introduces New Loudness Normalization Plug-In with Stand-Alone Capability Audio professionals everywhere can now benefit from the addition of LCn Loudness Correct to TC Electronic’s arsenal of pristine loudness tools – either as a Pro Tools plug-in or as a complementary stand-alone version with watch folder capability for automatic batch-normalization of multiple audio files. LCn is available for stereo or 5.1 surround -  LC2n and LC6n respectively. These days, hitting the right loudness target is essential whether the delivery platform is HDTV, Mobile TV, podcast, radio, iTunes, Spotify, etc. and LCn makes this as easy as clicking a button or dragging a file to a folder. The plug-in version allows Pro Tools users to apply faster-than-real-time, two-pass, off-line processing from within their host, while the stand-alone version runs on PC and Mac. Watch the Folder – Watch the Light A key functionality in the LCn stand-alone version is the dedicated watch folder capability that allows users to simply drag and drop their audio files into a user-defined target folder for fast and easy loudness normalization and true peak limiting. The new, normalized file will automatically be created in another user-defined destination folder, and the application can be set to automatically delete the original file or keep it in the watch folder. Another practical feature is the “traffic light” indicators to quickly see whether or not a file is compliant with the standard chosen. Users may even paste multiple audio files into the watch folder, making the LCn a highly efficient loudness batch processor. Finally, the watch folder feature also works across a networked system, so users could install it on a central server and simply drag their audio files to it from any computer on the network. Mastering Quality True Peak Limiter Included True peak limiting is an essential part of normalizing to loudness, but the quality of true peak limiters varies significantly. TC Electronic originally developed this very accurate way of measuring and processing peaks. Therefore, the company has a long history of providing the absolute finest, mastering-grade true peak limiting algorithms, and their legendary Brickwall 2 True Peak Limiter is an integrated part of LCn – complete with various true peak limiter profiles and linking functionality. Producers can now be absolutely certain that their material will pass the ingest stage on both loudness and true peak targets and thereby eliminate virtually any risk of having their content rejected. For broadcasters who deliver to multiple platforms such as HD TV and Mobile TV, it is essential to be able to hit two very different loudness targets – typically   -23/-24 LUFS and -16 LUFS. In that process a true peak limiter is absolutely key and with Brickwall 2 handling the peaks, audio quality is kept at its finest regardless of the delivery platform. S-Max and Loudness LCn takes the very latest revision of the EBU R128 standard into consideration by adding a ‘Short-Term Max Limit’ feature that the user can choose to activate. In other words, it is now possible to hit the loudness target and at the same time comply with the new S-Max goals of the EBU R128-2014 revision. This is absolutely essential for producers of short-duration content such as commercials and trailers. Dual Radar Confidence Check During processing LCn shows two small Loudness Radar Meters that all TC Electronic loudness meter users will be familiar with. However, even new users will easily be able to understand how the Dual Radar Confidence Check feature works. Quite simply, the Radar Meter on the left shows the loudness landscape over time (short-term loudness) of the original content, and as soon as the processing has been completed, the loudness landscape is shown on the right radar reflecting the new, loudness-normalized audio file. For instance, if the program material is of longer durations this is a very easy and fast way to check, literally at a glance, that everything is in order. LCn will be available January 2015 through TC Electronic’s dealers and distributors as well as in the TC Electronic online store.

NAMM Preview: Audient comes to NAMM with TEC-Award nomination ASP88 Mic P

Press Release:

Seventeen years since its inception, British audio equipment manufacturer Audient brings exciting new products, a fresh, dynamic team, a progressive new owner and a new distribution partner to the United States. No stranger to NAMM, Audient comes to this year's show having picked up its third TEC-Award nomination, this time for the eight-channel mic pre, ASP880. Another recipient of much acclaim is the feature-packed USB AD/DA interface and monitoring system, iD22 which visitors to the show should be able to get a look at. It all started with the large format ASP8024 analogue console designed by David Dearden, who himself lays claim to a sound electronics design experience second to none. He's spent over 40 years working with consoles, headed up DDA, co-founded Audient, and also had the incredible experience of helping build the custom console used for John Lennon's 'Imagine' album. "Every Audient product with a mic pre - including the latest releases, ASP880 and iD22 - incorporates the original Dearden-designed console preamps," explains Chief Technical Officer, Tom Waterman taking pride in driving Audient's engineering in new directions, whilst staying true to the company's heritage. "Indeed Audient is the only company whose renowned mic pre design features throughout the whole range. It is testament to the design of the flagship analogue console, ASP8024 that it is still manufactured today and that there are more than 1,000 in daily use worldwide." ASP8024 is a top choice for schools as well as studios across the United States. Renowned creative institute Full Sail University packs a staggering 12 desks into a single teaching space; NYU Steinhardt and University of Central Oklahoma both possess one and Women's Audio Mission has just taken delivery of its first 48 channel Audient. Industry heavyweight Simon Blackwood is at now at Audient's helm and has a proven track record for pro audio business development - past successes including Focusrite, Novation and founding Spirit. A year after taking the reins he is very pleased with the brand's progress, stating: "There was significant growth in our business in 2014 and our focus for 2015 is the US market". Most recently he has utilised his close connections with industry manufacturing to help source new technology and better component pricing, which has led to the significant reduction in the price of iD22. Together with Tom's vision for exciting new products, Simon promises to propel Audient forward into the new year. "We have plenty of scope for further development over the next 12 months, and great energy from our team based in southern England. Setting up new distribution agreements in the States and across the globe is just the start of it." To bring this new direction to the USA, Audient has signed on a new distribution partner in Momentum Audio Sales. Founded by audio industry veteran John Devins on his experience in leading sales efforts for Steinberg, Cerwin-Vega, Focusrite/Novation, AKG, and JBL, Momentum Audio Sales is the perfect fit for Audient to expand their offerings in the US market. Devins will tap established dealer and sales rep networks in the US and is looking forward to a year of growth in 2015.