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Friday, August 26, 2016

Antelope Audio's Announces Summer Discounts on its Orion Family of Thunderbolt™ Interfaces — Now Shipping with with FPGA-Based Vintage FX

Until September 30th, Customers can Attain Antelope's Best-In-Class Interface Features and Revolutionary FX Modeling at Significant Discounts through Participating Dealers



Santa Monica, Calif., August 23, 2016 — As part of its 'end of Summer celebration', Antelope Audio, a leading interface company specializing in Field Programmable Gate Array (FPGA)-based vintage FX modeling, is offering its best-in-class Orion Studio and Orion32+ Thunderbolt™ interfaces at a special discount. Between now and September 30th, customers purchasing the Orion Studio can receive a discount of $300 off of the $2,795 retail price, while customers purchasing the Orion32+ can receive a discount of $500 off the $2,995 retail price.

The Orion family of interfaces represents the next era in interface design — with unparallelled sonic attributes, Thunderbolt™ compatibility and lightning fast performance. With the addition of Antelope's proprietary FPGA-based vintage FX modeling, the Orion Studio and Orion32+ present an unrivalled value proposition for musicians, producers and engineers — now attainable at a special summer discount.

Orion: reach for the stars
Both Orion Thunderbolt™ devices pack multiple channels of pristine quality I/O conversion, flexible routing options, zero latency monitoring and Antelope's legendary clocking technology — delivering the ultimate in sonic imaging.

Despite its diminutive size, Orion Studio is a professional tool designed and built without compromise. Through its Thunderbolt™ and USB connectivity, Orion Studio — which boasts (12) commercial-grade preamplifiers and the lowest latency AD/DA chip set on the market — is able to simultaneously process 32 I/O of 192 kHz audio at dizzying speeds of 100μ round trip delay. Finally, a pair of mastering grade monitor outputs, two hardware inserts, two re-amps and a talkback mic make Orion Studio an incredibly flexible tool in the studio.

The Orion32+ does what has never been possible before in a 1U rack space — delivering 32 channels of I/O, unmatched connectivity options, zero latency monitoring and 32-simultaneous channels of 24-bit, 192 kHz audio performance. The unit also delivers a vast range of connectivity options including Thunderbolt™, MADI and USB, making it suitable for use in commercial, home studio and live environments. The Orion32+ also incorporates ADAT and S/PDIF throughput, with I/O being handled by eight D-Sub 25 connectors and a pair of mastering grade monitor outputs — both capable of delivering 129 dB dynamic range. Both units come bundled with Antelope's new FPGA-based vintage FX modeling capabilities.

By taking advantage of Antelope's summer sale, musicians, engineers and producers are able to save not only a substantial amount off the original retail price, but are also able to seamlessly integrate a plethora of vintage EQs and compressors into their workflow at no additional charge.  The new hardware-based vintage EQs from Antelope — which hearken the sounds of legendary equipment that has left an indelible mark on the face of modern music — behave like their hardware counterparts and render traditional DSP plug-in effects obsolete. The addition of the FPGA-based EQs onto the Orion Studio platform is a true paradigm shift and represents a potential enormous cost savings for customers looking to access faithfully represented sounds of vintage equipment that would otherwise cost tens of thousands of dollars.

In recent months, Antelope has announced many FPGA-based vintage FX and EQs, which are included with any purchase of an Orion Studio.  Among the most recent additions are:    

  • Pultec's simple and effective filter features two knobs: one each for passive low-cut and high-cut filters at carefully selected frequency intervals. With 10 frequency selections available per band, it is the perfect tool for creating space in your mix by eliminating unneeded frequencies at the extremes of the audio spectrum — while ensuring a musical analog tone.

     
  • Helios 69 – Modeled on a classic British console EQ used in recordings by well-known artists of the 60s and 70s ranging from The Beatles to Led Zeppelin, the Helios 69 adds astonishing analog detail to your audio it allows Antelope Audio users to achieve depth and texture formerly the sole territory of standalone hardware. The bass band is a stepped 50 Hz shelf filter or frequency selectable peak EQ, the treble band is a fixed 10 kHz shelf EQ, and the mid section sports a frequency-selectable peak or notch EQ with 8 frequencies available. The control panel is rounded out with a level knob and EQ bypass. This EQ is notable for its ability to preserve transparency while adding space and presence, and Antelope Audio’s model of this highly coveted circuit delivers unprecedented authenticity.
     
  • NEU-PEV – The NEU-PEV EQ is modeled on a rare German passive equalizer designed in the 60s. Its simple interface belies the complex tonal possibilities achievable with its four main knobs. A low shelving filter is fixed at 60Hz and can apply a boost or cut. The “Presence” section offers up to 8 dB of boost for one of 7 selectable frequencies between 700 Hz and 5.6 kHz, while a 10kHz high shelf allows boost or cut at the top end of the frequency spectrum. An on-off switch and output gain control provide users with even more utility. Notable for its warmth and spacious midrange, the NEU-PEV makes some of the most compelling sounds of both yesterday and today achievable without a massive rack of aging vintage gear.


     
  • Lang PEQ2 – The PEQ2 is a solid-state parametric EQ model based on a vintage EQ from the 1960s. Featuring controls similar to the VEQ-1A tube EQ (already available in Vintage Pack 2.0), the PEQ2 really stands apart from the pack thanks to its frequency control, allowing users to set different and separate LF boost and LF cut frequencies. The PEQ2 provides plenty of width in the midrange while retaining tightness on the high end and low end and its high end bands excel at giving tracks that extra shine, making it an all-star on vocals and drum overheads.
     
To learn more about the special promotion on Orion Studio and Orion32+, please visit: http://antelopeaudio.com/orion-summer-sale/.

Greg Fidelman and Metallica Ready to Track Any Instrument, Any Time with BAE Audio 1073 and 1028 Preamps

San Francisco, Calif., August 22, 2016 – When Metallica and producer Greg Fidelman hunkered down to begin work on the legendary band’s latest record, he knew he needed the flexibility to hop in and out of the band’s studio and from instrument to instrument with ease. “They’re really busy guys, so we wanted to have all of our sounds for drums, bass, and guitar set up all at once and leave them that way,” Fidelman says. “That way they can get in there and cut a few takes without having to spend time dialing in sounds or breaking down mics each time.”

He knew that the (30) channels of vintage preamps the band had already in the studio would not be enough to simultaneously facilitate the multi-mic drum sound and detailed guitar micing setups he was envisioning for the sessions. He turned to BAE Audio preamplifiers to nearly double his available inputs, matching the classic sound of Metallica’s existing vintage gear with the added reliability of BAE’s modern construction and components.

A New Classic
Fidelman had first worked with BAE Audio preamplifiers on a recent Slipknot record he was producing. “On that record we were working on a full vintage console but had to change studios halfway through recording to one with a more modern console,” Fidelman recalls. “The band was concerned about retaining a consistent guitar sound so we took extensive notes of our mic placements and EQ settings and took snapshots of direct and reamped guitar to test in the new space. The new studio had a rack full of BAE 1073s and other BAE preamplifiers so we ran everything through those with our notated settings and A/B'd it with what we had done in the previous studio.” Fidelman said the results were indistinguishable. “I think if anything our sounds were 5-10% better because of the new components in the BAE gear,” he adds.

Fitting Right In with the Original
Fidelman’s experience with BAE Audio gear on the Slipknot record gave him the confidence to recommend it for the Metallica sessions to expand their vintage input count. He procured (11) channels of the BAE Audio 1073 and (8) channels of the 1028 in a mix of module and standalone rack format. Fidelman opted for the mix of vintage and new vintage inputs over the studio’s built-in modern console because of the unique qualities of the vintage circuit design.

“With the 1073, the way you can manipulate the bottom end is pretty unique, with the low-end boost and the filter working together,” Fidelman says. “There’s also a quality to the top end that’s always musical. If you need a little extra you can really dig into it without it becoming harsh. And not just the high frequency boost/cut, but also the higher frequencies in the midrange band.”

Fidelman notes that the midrange band is particularly key for articulating the top end of kick and snare drums. “It’s pleasing with drums, you can boost what you want without the other garbage,” he says. “To get the core guitar sounds for Metallica I’m sometimes routing a mic into the 1073 and then out into the direct input of another 1073 or 1028 to get access to another midrange or low end band for extra control.” Fidelman appreciates the additional frequency selections provided by the 1028 on things like overheads. “You can dig in deeply with some of those additional frequencies to define the sound you’re looking for,” he says. “It provides the versatility I need.”

Great Sound, Worry-Free
Though Fidelman says he “grew up” on vintage consoles and loves their sound, he acknowledges that working with older gear has its perils. “I was working at a studio in Hollywood recently with a (great) vintage desk, but even with the techs working through one or two modules every day, the reality was that stuff was failing faster than they could keep up with,” Fidelman says. “BAE has nailed the sound and since you’re not dealing with 30-year old contacts, dusty pots, and worn connectors it’s way more reliable.” Both preamps sport the same Carnhill/St Ives transformers specified in the original vintage circuit design and feature BAE’s renowned hand-wired construction, conducted at their facility in California, enabling them to capture the vintage sound that has been the signature of many beloved recordings.

Ready to Rock, 24/7
Fidelman and the band’s approach have proven fruitful over the course of the tracking sessions. “We began these sessions back in June and have been tracking bits and pieces as recently as two weeks ago,” Fidelman says. “We never had to stop and reset things to switch instruments, and we’ve got consistent sound on every single channel, whether it’s with our vintage channels or the BAE channels. We can hop from laying down Kirk’s guitars to Lars’s drums seamlessly and know we have sounds worthy of a Metallica record ready to go at all times.”

Working in tandem with vintage and “new vintage” gear by BAE Audio, Fidelman has also kept a coherent and consistent sound on a record that’s been in process for several months. “There are always interruptions when you’re working on a high-profile record, but we were able to eliminate technical interruptions from the project with the consistency and reliability of BAE hardware, all without sacrificing that vintage sound that I love.” BAE preamps are the new first choice for Fidelman. “I can’t really tell the difference between BAE and the original.”

Captions
1) Producer Greg Fidelman is using 19 BAE Audio preamplifiers on Metallica’s newest record.

2+3) The BAE Audio preamplifiers are being used alongside the band’s existing vintage channels to expand channel count while maintaining sonic consistency.

Tuesday, August 16, 2016

The Women’s Int’l Music Network and #SaveAGuitar Announce the She Rocks Awards Opening Act Contest



Needham, MA (August 15, 2016) – The Women’s International Music Network (the WiMN),
in partnership with #SaveAGuitar, announces the #SaveAGuitar and She Rocks Awards contest. The contest will award one winner the opening spot performing at the 5th annual She Rocks Awards on Friday, January 20, 2017, at the Winter NAMM show in Anaheim, CA.
The winner will also receive a Breedlove Pursuit Concert acoustic-electric guitar and feature profiles on the WiMN website and the #SaveAGuitar site. Also included in the prize pack is a pair of tickets to the awards, as well as a badge to attend the NAMM show. Ten lucky runners-up will receive a feature on the #SaveAGuitar site and socials, a feature on the WiMN socials, plus a Breedlove T-shirt.
Contestants can enter by submitting their bio, along with links to their favorite performance and social media links, plus a short narrative sharing why playing guitar is important to them and why they love the guitar before the September 30, 2016 deadline. Winners will be selected from among all eligible entries, and announced before November 1, 2016. For complete contest rules and to enter, visit www.thewimn.com/saveaguitar-contest/.
The WiMN Founder, Laura B. Whitmore, comments, “In addition to recognizing accomplished musicians, we're also always on the lookout for bright, emerging talents, and so we're thrilled to partner with #SaveAGuitar to offer this exciting opportunity for a deserving new musician to perform for their peers at the 5th annual She Rocks Awards.”
The She Rocks Awards pays tribute to women who display leadership and stand out within the music industry, and has become a standard at the NAMM Show. Previous award recipients include female industry leaders such as Jennifer Batten, Karmin, Colbie Caillat, Sheila E, The Bangles, Orianthi, Dinah Gretsch, Craigie Zildjian, Janie L. Hendrix, Amani Duncan, Mary Peavey, and more. The event brings together industry professionals, music icons, artists, fans and media to celebrate women in music.
Find out more at sherocksawards.com.

Thursday, August 11, 2016

FXpansion Releases Dan Foord Polyrhythmic Metal BFD3 Groove Pack

Over 500 new progressive, modern and technical metal grooves

 

LONDON, UK (August 11, 2016) - Audio software developer FXpansion and drummer Dan Foord (Sikth, Krokodil) are proud to announce the availability of Dan Foord Polyrhythmic Metal, a BFD3 Groove Pack loaded with progressive, modern and technical metal grooves. Dan Foord Polyrhythmic Metal contains more than enough grooves and fills for any songwriter to quickly create fully authentic metal drum tracks.

With over 500 grooves in total, each of the included 26 palettes contains related grooves and fills to help you construct drum tracks quickly and efficiently. Each groove features techniques Dan regularly uses, including:
● Beat displacement and modulation
● Related tempo and time signatures
● Varied orchestration
● Ghost note grooves
● Paradiddle and linear fills
● Single stroke rolls
"I wanted to create a BFD Groove Pack that would be instantly identifiable as modern tech metal." Says Foord, who has been at the forefront of progressive metal drumming for more than a decade.  "Polyrhythms in particular form the basis of this style and 3 over 4 most of all. I can honestly say you won't find a more comprehensive set of 3 over 4 polyrhythmic grooves and fills anywhere."
BFD3 is the third generation of FXpansion's flagship software acoustic drum studio delivers new levels of detail and realism with stunning new kits, mix-ready presets and modeling technology for tom resonance and cymbal swells. The revamped interface has a new mixer and sound browser for the easiest BFD experience yet.
Dan Foord Polyrhythmic Metal is available to purchase and download directly from FXpansion for USD $39.00 here: 
Note that Dan Foord Polyrhythmic Metal requires a registered copy of BFD3 which is available to purchase as a download or boxed USB version from FXpansion for USD $349.00 here: https://www.fxpansion.com/products/bfd3/

Wednesday, August 10, 2016

Isotonik Studios: Arcade Series - Tetriq

THE ORIGINAL GAMEBOY SERVED AS INSPIRATION FOR THIS GENERATIVE SEQUENCER…


‘Tetriq’ is a chord sequencer and arpeggiator. Inspired by the classic puzzle game Tetris, Tetriq uses the original shapes to create generative sequences creating complex chord structures and hypnotic melodic patterns.

SHAPE SEQUENCER
The Shape Sequencer generates up to 8 classic shapes. They move in different directions and at different speeds. If they join momentarily to create a horizontal line, the sequencer triggers the chord engine…


CHORD ENGINE
The Chord Engine is a unique probability based game in itself. Chords can be created at random, or settings can be made to keep chord generation within user defined limits…

ARPEGGIATOR
The Arpeggiator receives chords from the Chord Engine, or from incoming MIDI, and turns them into melodic sequences. The Arp has a unique velocity sequencer which can also be controlled by supported control surfaces…
And then all of the above is outputted as visual feedback to your chosen controller, whether it be Ableton Push ONE or TWO or the Novation LaunchPad Family!!


MORE DETAILS: 
ARCADE SERIES PART ONE - £25.99 TETRIQ - £14.99

Tuesday, August 9, 2016

Antelope Audio Brings World-Famous Hardware-Based FET Compressor to Its Thunderbolt Interfaces, While Adding Several Classic EQs

FPGA Model FET-A76 Delivers the Highly Desired Character of Classic Hardware Compressor, While New EQ Models Delve Further Into Tone Shaping

Santa Monica, Calif., August 9, 2016 —Antelope Audio, a leading interface company specializing in FPGA-based vintage FX modeling, announces the arrival of its FET-A76 solid-state compressor to its latest hardware interfaces, as well as a further expansion of its EQ offerings with four new vintage hardware models. Each hardware-based model leverages Antelope's leading edge proprietary Field Programmable Gate Array (FPGA) technology, and joins a growing range of signal processing offered by Antelope Audio with near-zero latency performance and the exacting character of the original vintage gear. Antelope Audio is already well known in the market as an expert in clocking and conversion technologies.

The FET-A76, VEQ-HLF, Helios 69, NEU-PEV and Lang PEQ2 add more essential tools for tracking and mixing to the growing Antelope Audio digital platform, and are available immediately as an update for the Goliath, Zen Tour and Orion Studio hardware.

Monday, August 8, 2016

BASSBOSS to Introduce VS21 “Rum Punch” Subwoofer and SV8 MicroMain at 2016 DJ Expo

Atlantic City — August 4, 2016: Premium loudspeaker manufacturer BASSBOSS will be bringing their professional mobile loudspeaker systems mojo to the 2016 DJ Expo, [DJ Expo booth 1105] held in Atlantic City, NJ between August 16 and 18. In addition to hosting an exhibition booth on the trade show floor, BASSBOSS will have a dedicated demo room in Ruby Rooms A & B, where the company will conduct demonstrations of a large variety of their loudspeaker models — including the new VS21 “Rum Punch” subwoofers" and the DiaMon DJ112 DJ Monitors.

For more than 25 years, DJ Expo has played an integral role in defining and shaping the DJ community, bringing together DJs from around the world for networking opportunities, educational experiences and new gear demonstrations. As the longest running and most highly attended DJ-centric tradeshow, it is the perfect opportunity for industry professionals and end-users to engage with BASSBOSS, which has been pioneering innovative loudspeaker solutions for over 17 years.

In the BASSBOSS demonstration room, exhibition attendees will be able to experience the power, sonic definition and unrivaled bass response of some of BASSBOSS' new and most popular products including: 
 
  • VS21 “Rum Punch” Powered Subwoofer
    Embodies BASSBOSS' latest innovations in cabinet design, achieving a revolutionary balance of low end that is both impactful and full-bodied. With an output comparable to a double 18" subwoofer, the VS21 carries a frequency response of 27-100 Hz and 132 dB of output.
     
  • SSP118 Powered Subwoofer
    The SSP118 is a high-powered self-amplified single 18-inch subwoofer designed to deliver the low frequency output of an average double 18” in a single 18” box. The enclosure features a single 18” woofer with a high-powered 2,400-watt Class-D amplifier, and offers response down to 30 Hz.
     
  • ZV18 Powered Subwoofer (Booth Only)
    Based on the groundbreaking ZV28 subwoofer design, the ZV18 Powered Sub is an extended low-frequency loudspeaker that redefines the capabilities of what a portable, single 18" subwoofer can achieve. The ZV18 features a 2,400-watt Class-D amplifier, and low frequency range extension to 21 Hz.
     
  • ZV28 Powered Subwoofer
    Powered by a 4,000-Watt Class D amplifier, the ZV28's frequency response extends to the very limits of human hearing. Notes that are simply not present with other subwoofers can be fully realized by the ZV28, and frequencies that stress lesser subs are reproduced effortlessly and powerfully.
     
  • DV8 Powered MicroMain
    Elegant and extremely versatile, the DV8 is a light yet powerful loudspeaker, with a built-in 1500 Watt Class D Powersoft amplifier. It delivers a remarkable combination of flat frequency response, high output, broad coverage and long throw in a compact, lightweight and visually attractive package. For mobile DJs, or just about anyone, it’s the single best loudspeaker to have atop a pole.
     
  • AT312 Powered Reference Mains
    Weighing in at just 89 lbs, the BASSBOSS AT312 is the perfect mid and high complement to BASSBOSS subwoofers. These 3-way active loudspeakers feature dual 12" woofers in a vented enclosure for low frequencies, a 12" midrange driver and a co-axially mounted 1.4" exit compression driver. When combined with BASSBOSS subwoofers, the overall result is unparalleled resolution and dynamic power for its size.
     
  • SV8 Powered MicroMain
    A very compact yet remarkably high output loudspeaker, the SV8 delivers a smooth and rich sound along with an extremely flat frequency response for super-accurate critical monitoring tasks. The unit can be used as a full-range main for studio monitoring and small gigs, or as a satellite main speaker when combined with a subwoofer or two.
     
  • DiaMon DJ112 Powered Monitor
    The DJ112 is an extremely high-output, compact, self-powered mid-high loudspeaker. It has the output to be used as a satellite main with double-18” subwoofers, where as a DJ monitor it provides tight, punchy sound that will not distort at high levels. As a live reinforcement speaker, it provides consistent sound quality over a wide dispersion pattern with excellent resistance to feedback. It features a 1,500-Watt 2-channel Class D amplifier.

"DJ Expo represents the perfect opportunity for the DJ community to evaluate BASSBOSS products in person," said Lian Amber, CEO of BASSBOSS. "For us, a personalized experience is the ultimate differentiator since the quality of our products must be perceived first hand to be fully appreciated. We look forward to reconnecting with our existing customers, and to introducing an entirely new generation of DJs to BASSBOSS." 

For more information on DJ Expo, please visit http://thedjexpo.com.