Native Instruments launches 50% off special on Soundiron instruments

Berlin, October 24, 2017 – Native Instruments has partnered with Soundiron to offer exclusive discounts on selected instruments from Soundiron’s wide range of cinematic sound tools. The offer runs until November 1, 2017, with 50% off discounts on 15 KONTAKT instruments, including choirs, cinematic percussion, and unique, deep-sampled acoustic instruments. The offer also includes an exclusive bundle of all featured products, at an impressive discount of 85% compared to the total price of the individual products. All of the instruments are NKS-ready for perfect integration with KOMPLETE KONTROL keyboards and MASCHINE.

All instruments run in the free KONTAKT PLAYER software. Instruments on offer include Olympus Choir Elements, Mercury Boys Choir Elements, Voices of Gaia, Elysium Harp, Antidrum Machine, and Glitch Hero.

“Soundiron is thrilled to collaborate with Native Instruments,” says Mike Peaslee, Founder and Director Of Operations at Soundiron. “We’ve spent the past year working to bring full NKS and KONTAKT PLAYER support to a wide selection of our instruments and we're excited to finally unveil them. Native Instruments is an industry leader and has been an excellent partner to Soundiron. We’ve released well over 100 professional libraries for the KONTAKT format over the years, and now we’re bringing an ever-growing array directly to KONTAKT PLAYER, MASCHINE, and KOMPLETE KONTROL keyboard users everywhere.”

Native Kontrol Standard (NKS) is an extended plug-in format that enables a unified creative experience across hundreds of virtual instruments from Native Instruments and other leading developers. Manufacturers using the NKS standard carefully design the mappings, tags, and performance of their instruments for KOMPLETE KONTROL and MASCHINE hardware to react with the feel of a custom instrument.

The following individual products are now available as part of the offer:

- Ambius Prime
- Antidrum Machine
- Apocalypse Percussion Elements
- Apocalypse Percussion Micro
- Elysium Harp
- Emotional Piano
- Glitch Hero
- Mercury Boys Choir Elements
- Mercury Boys Choir Micro
- Motor Rhythms
- Olympus Choir Elements
- Olympus Choir Micro
- Requiem Light Symphonic Choir
- Voices of Gaia
- Voices of Rage

This special offer is available from October 23 until November 1, 2017, exclusively at the NI online shop. Individual pricing can be found on the following page:

https://www.native-instruments.com/specials/komplete/soundiron-nks

New Glitchmachines Website

 

"Our brand new company website is now live!

The site was completely overhauled and features a modern, mobile-friendly interface designed to streamline your browsing experience in every way.

We added a new Support page that answers the most commonly asked questions and outlines various company policies.

We also set up a new Apparel shop via Threadless, which features numerous logos and designs you can print on a variety of garments.

www.glitchmachines.com

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Next up: a new sound effects pack and our latest flagship plugin!
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The Glitchmachines Team

Bassboss Sound System Provides Sonic Foundation For Jpc Entertainment

Tallahassee, FL, October 23, 2017 — Jeremy Conklin aka DJ Pressure had been a well-regarded professional DJ already for ten years before he decided to expand his company, JPC Entertainment, to include full-service production rentals. “I first created the company as a vehicle for filing taxes for my DJ services,” he says, “but after years of working as a DJ and nightlife consultant at a number of venues, I learned how to wire and tune sound systems and program light shows.” Upon discovering the superior performance of BASSBOSS speakers, Conklin burst onto the event production scene with a BASSBOSS sound system that immediately outclassed the competition and helped establish his company as the first call for premium sound.

Eye-Opening Bass
Conklin first heard BASSBOSS speakers while DJing in Panama City. “I heard them down there back in 2012 when I was DJing at the Beach Bash with Steve Aoki, and again this past March,” he says. “This year we were hearing the bass from about three football fields away and decided to go check it out. It turned out it was just four BASSBOSS double 18s. I had never heard so much sound from so few subs. It was the most insane bass I had ever heard in my life. Really clean, with notes I had never heard before.”
Realizing that nobody back home in Tallahassee had a comparable system, Conklin returned home and began a conversation with BASSBOSS about building his own system, while simultaneously laying out plans to start his own production company. “The BASSBOSS team was really great about helping me decide on a system and walking me through all the technical details of the products,” he says. “I came for the products was even more sold on the service.”

Shaking It Up
Conklin decided on a system that included eight SSP218 subwoofers and six AT312 loudspeakers. Upon receiving the system, he took it out to a club that he manages to test out some music. “We set up four of the 218s and 2 of the 312s and ran through every genre of music we could think of,” he says. “Honestly, it was an emotional experience hearing music sound that clear and magical. I didn’t have to touch the EQ at all, it had crystal clear and flat frequency response. It just couldn’t have been more perfect.”

A New Standard
When he started taking his system out for events in July, the response was immediate. “When I did the July events everyone’s mind was blown,” Conklin says. “Everyone was ranting and raving about the quality.” JPC Entertainment is the top choice in the area to handle everything from corporate events to concerts to tailgate parties and Greek life events at nearby universities. All BASSBOSS speakers are self-powered, making setup a snap at any location. “I’m able to get up and going in 30 to 45 minutes from the time I locate an outlet,” he says. “BASSBOSS has just made it so easy to use their speakers. You don’t need an amp rack or extra cables. You just plug them in and go.”
His BASSBOSS system delivers power and clarity that can be easily scaled up or down to fit the needs of each job. With so much power on tap, Conklin has yet to find an opportunity to push his system to its upper limits. “I’ll bring out just two boxes for a concert and I’ll have to turn it down because people are hearing it a mile away. Nobody realized that you could get this kind of sound outside of a large-scale festival, and we’re able to offer this at a competitive price.”
Not only has Conklin’s system helped him accrue numerous clients without substantial advertising costs, it has also completely re-defined the standard of event sound in the Tallahassee area. “We’ve raised the bar in the city for sure,” he says. “The Greek life community has really helped spread the word. They’re all trying to one-up each other so when they hear about one party we did that sounded amazing they want the same system and MORE. I’ve been adding a speaker or two at each new event.”

Sound You Can Lean On
BASSBOSS has given Conklin something even more valuable than amazing sound. “This sound system gives me so much job security it’s nuts,” he says. “Everyone now associates the best sound with us and BASSBOSS speakers.” And the durability at longer events is an encouraging sign that JPC Entertainment and his BASSBOSS speakers will be powering events of all sizes for years to come. “I’ve run these things for 8-10 hour events and the amp is barely warm,” he says. “They can really take a beating, direct sunlight all day, you name it. They’re just made very well.”
Besides the speakers themselves, another thing that never gets old for Conklin is the look on clients’ faces when he fires up the BASSBOSS system during soundcheck. “The look on their face as I start cranking the system—it’s priceless. You can tell they were expecting something good but they had no idea.”

To learn more about BASSBOSS, visit www.bassboss.com.

Kilig & Fernweh - Live at the Troubadour June 30 2017

BAE Audio Hot Fuzz Pedal Inspires Producer and former Guns N’ Roses Guitarist Gilby Clarke

Los Angeles, CA, October 20, 2017 – Guitarist, songwriter, and producer Gilby Clarke has owned a great many pedals during his long career, a career which has included stints as a member of Guns N’ Roses and numerous studio sessions. He was also familiar with the reputation for analogue excellence of hand-wired studio hardware manufacturer BAE Audio, whose rack gear is among the key pieces he turns to in his own full-service home studio. When he heard that BAE Audio had released its first guitar pedal, the Hot Fuzz, he was intrigued to explore one of his favorite gear manufacturers’ take on the stompbox effect.

The Hot Fuzz arrived at Clarke’s studio just as he was in the thick of recording his newest solo record. “I’ve stepped back from some of my touring obligations this year to focus on finishing the new record,” he says. “Since I’m producing as well as playing guitar and writing all the songs, it’s a lot of work.” His home studio is stocked with a healthy complement of classic guitar amps as well as over 40 guitars, so he already had access to a wealth of guitar sounds. But when he plugged in the Hot Fuzz, he found its sonics both harkening back to an old favorite and delivering something totally new.

What’s Old is New
The Hot Fuzz is a dual-stomp pedal featuring both a vintage-style treble booster and a vintage-style fuzz, each with separate bypass switches. “I had an original treble booster some years back which I used to love with a dirty tube amp,” he says. “I got rid of it for some reason, but kicking on the Hi Frequency Boost on the Hot Fuzz—it really has that sound. It’s not really treble so much as it is high midrange—it just brings that frequency range out in a way that makes the guitar really sing.”
Immediately, the tone opened up new creative possibilities for Clarke, who was looking for some additional material to round out his full-length record. “I had a little riff that was the first thing I was trying out on the Hot Fuzz and it suddenly inspired a new riff which inspired a new song!” he says.
BAE Audio CEO Mark Loughman had recommended that Clarke experiment with kicking on both the boost and fuzz sections of the pedal simultaneously for yet another tone option, a chain he had not used in his days as an owner of a vintage treble booster. “As the song came together, I ended up using just the treble boost for the verse, and then the boost and the fuzz together for the chorus,” he says. “It really did everything you could ask for from a pedal for me: it inspired me creatively and helped move the song along dynamically.”

Full Spectrum Fuzz
Clarke felt that the unique sonic character of the fuzz section of the Hot Fuzz separated it from other dirt boxes he has used over the years. “The tone of the fuzz reminds me a bit of 90s Russian fuzz pedals, but it has way more tonal range than that,” he explains. “Those were very two-dimensional pedals, you either had a fuzzy low end or a fuzzy high end. With the Hot Fuzz, the fuzz is spread very evenly throughout the bass, treble, and midrange.”
For Clarke, it is the articulate midrange of the Hot Fuzz that makes it so musical. “As a guitar player, I’m always looking for a defined midrange,” he says. “That’s the part of the spectrum that the guitar is responsible for, and the Hot Fuzz has really nice tonal characteristics in the all-important 1kHz to 3kHz range.” Clarke also found the fuzz highly responsive. “Not only does it sound good, but it’s got that great singing sustain, where you can hold out a note and it will really last,” he says.

Caught by the Fuzz
Clarke sees room for a lot more potential for exploration with the Hot Fuzz in the future. “This is a very new toy for me, and already it has lead to some cool things, so I look forward to messing around with it more,” he says. As for the new song it inspired, since named ‘Tightwad,’ Clarke describes it as among the top few single candidates on the record. “The Hot Fuzz is a huge part of the sound of that song, so I’m going to have to make some room for it on my pedalboard for my upcoming shows,” he says. He now recommends it to any intrepid guitar players out there who, like he is, are constantly searching for new tonal options. “It’s a really unique sound, so if you’re someone who likes to experiment and try new things you’ll find that the Hot Fuzz is a pedal that can really inspire something.”

For more information on the Hot Fuzz, please visit http://www.baeaudio.com.

New Circuit Patch Store for the Novation Circuit from Isotonik Studios

OUT NOW

INTRO PRICE: £5.99 BUY NOW: CLICK HERE
 
AS EVER IF YOU'D LIKE THIS PRODUCT ADDING TO YOUR ACCOUNT JUST REPLY WITH A YES PLEASE AND WE'LL ORGANISE IT FOR YOU!

To date the first pack from Yves Big City is by far our best selling pack of Patches, Samples and Sessions for the Novation Circuit. As soon as Firmware Version 1.6 was announced it was Yves who was the first to suggest working on a pack that made the most of the new enhanced drums features.
And so today we're proud to launch the first in hopefully a long running series entitled "Start Something".

Before Novation launched their Circuit groovebox they teased the internet with a series of short films around the concept of breaking out of the usual paradigm of music making with a DAW and instead just going back to basics, It's here where we re-enter that particular principle.

Unlike our other packs for the Circuit in our Patch Store this one doesn't come with any patches for the Nova Synths, instead it focuses on the drum machine element of the circuit with a full set of samples and a range of sessions to kick off any composition.

As an added bonus Yves has also included a set of one button chords for each of the sessions so that you're instantly set up to start creating.

Checkout the video above and the Soundcloud links on the product page, if you've used Yves Delorean Dream pack you'll know the quality is assured!

MORE DETAILS - CLICK HERE

NKRIOT Amoeba Performance and cassette release

On nov. 9th 2017 NKRIOT will be hosting his official in-store performance & cassette release party at amoeba music in hollywood, ca.