■ Blue Cat Audio announces Blue Cat’s PatchWork 2.0 & MB-7 Mixer 3.0

Blue Cat Audio will be announcing Blue Cat’s PatchWork 2.0 and MB-7 Mixer 3.0 at NAMM, the next generation of its audio plugins that have been hosting third party plug-ins since 2013.

With brand new user interface designs, dozens of new features streamlining the workflow, improved third party plug-ins support and audio routing, these new versions will be revealed at NAMM on booth #6242 and will be publicly available for purchase in the first quarter of 2017.

Changes in PatchWork 2.0 & MB-7 Mixer 3.0

• Brand new GUI design, with improved usability and touchscreen support.
• Favorite plug-ins and their settings can be saved to be quickly reloaded later from a menu.
• Unused channels for each hosted plug-in can now be muted (instead of default pass-thru).
• Load/save native VST, VST3 or AU preset files.
• Missing VST & VST3 plug-ins are now automatically relocated.
• Presets and parameters menus are now split in sub menus instead of a single list.
• Additional user VST path to locate VST plug-ins is now available.
• Fully compatible with previous versions.
• PatchWork: Hide plug-ins slots to minimize the plug-in.
• PatchWork: Lock GUI state and in/out gain to prevent changes when loading presets.
• PatchWork: Output gain is now always active, even when using a single PRE column.
• PatchWork: Exclusive solo mode for parallel chains.
• PatchWork: Show or hide all plug-ins editors with single click.
• PatchWork: Standalone application: drag and drop preset files on the application to load preset instantly on startup (and create shortcuts to launch app with a specific preset).
• MB-7 Mixer: Copy/paste and save band settings (including plug-ins) as sub-presets.
• MB-7 Mixer: Map sub plug-ins parameters to automate them in host or control them with MIDI.
• MB-7 Mixer: Lock GUI state to prevent changes when loading presets.
• MB-7 Mixer: Band Controls Groups can now be identified by colors.
• MB-7 Mixer: Adjust contrast for spectrogram display.
• MB-7 Mixer: Spectrogram now keeps history when resized.
• MB-7 Mixer: Import spectrum curves for EQ compare & matching, and export EQ curves to share with other Blue Cat Audio plug-ins.

The updated versions will be available in Q1 2017.

More info @ Blue Cat Audio

 

Overloud releases their take on the 76... -> http://www.overloud.com/en/products-53/comp76-fet-compressor-limiter.html

AAS brings a new delay:


McDSP also with a new delay... -> http://mcdsp.com/plug-ins/ec-300-echo-collection/

 

What about analouge mixer with usb/* interface? Similar to Soundcraft MTK ... any clue?
http://www.soundonsound.com/reviews/soundcraft-signature-22-mtk

 

Just what I needed, another 76 emulation.

Definitely looking to try the bx_basssynth, as well as the Celestion IRs.

Meanwhile, Slate has introduced an audio interface with gimmick mics and labeled it the greatest invention since the wheel.

 

Last edited: Jan 19, 2017

Steinberg Halion 6 & Halion Sonic 3:

https://www.steinberg.net/en/produc...at_is_new_in_halion_6_and_halion_sonic_3.html

 

Dave Smith did it again! This is the new best with good price: REV2 16-voice Analog Poly Synth

 

any news on the behringer synth?

 

The Deepmind 12? In stock at Sweetwater, looks like Feb 28th at Music Store, Thomann has them in a week again. It's available most places. I like the sound, menu diving wasn't too bad.

 

Elektron

 

it looks digital audio is going to take a jump forward after all. after it all completely stagnated for a while

 

Line 6 Helix Native plugin http://line6.com/helix-native/

 

Been lovin my MTK for about a year now. Have you spent some time with one ? I would guess the prices of both the 22 & 12 will fall soon (like yesterday). NAMM 'has a way of drivin the price point down on just about every piece of gear out there. The MTK's are not perfect... but for the $$, it gets the project done with respectable fidelity & flexibility.

 

probably thanx to roland, when everybody wanted more analog stuff they came up with the ACB tech and gave the analog purists the middlefinger and remade their classics digitally, also akai's big hit the rhythm wolf may have helped out with making sure people know analog can be horrible as well

 

■ Plugin Alliance and Black Box Analog Design announce Analog Design HG-2

Meet your mix buss’ best friend: The Black Box Analog Design HG-2.

There’s good reason why celebrated mix engineers like Dave Pensado, Bob Horn, and Jack Douglas use the high-end Black Box Analog Design HG-2 tube processor on their mixes. The boutique stereo processor’s multiple, diverse tube circuits not only make tracks sound richer and fuller, they also make them sound louder, bigger and punchier at the same peak level. Much more than a mere distortion box, the HG-2 can impart subtle harmonic coloration and sparkle without compromising fidelity, or add brilliant saturation that totally changes the character of a sound.

Now you can have that lush and vibrant sound in the Black Box HG-2 plugin. Brainworx collaborated with Black Box to model the HG-2’s sweet tubes and creamy-sounding transformers, and then added a host of powerful digital mods to greatly expand the processor’s tonal palette and range of saturation-based compression.

Features

• Faithful emulation of the high-end Black Box Analog Design HG-2 tube processor, with additional digital controls—Input Gain, Density, Calibration, Air and Mix—providing a greatly expanded palette of tube flavors and saturation
• Modeled transformers and separate gain controls for virtual 6U8A pentode and triode tubes add warmth, body and tube sweetness to thin mixes and sterile mono and stereo tracks
• Parallel Saturation circuit selects one of two modeled 12AX7 tubes—one voiced more aggressively than the other—for adding tube radiance to scorching overdrive distortion on instrument and vocal tracks
• Saturation Frequency selector adds generated 12AX7 harmonics to only low or high frequencies or across the entire audio spectrum
• Calibration menu mimics an internal trim adjustment in the HG-2 hardware to give high frequencies Dark, Normal or Bright coloration
• New, continuously variable Density control boosts gain equally for virtual pentode and triode tubes while making a compensatory adjustment to output gain
• New, continuously variable Air control adds silvery sparkle and sweetness above 10 kHz
• New, continuously variable Input Gain control simultaneously trims gain for all active virtual tube circuits: Saturation, pentode and triode
• New, continuously variable Mix control adjusts wet/dry balance, preserving detail and punch

​

More info here

 

■ Plugin Alliance and Brainworx announce bx_subsynth

bx_subsynth is the Holy Grail for bass fanatics. Integrating a mix of classic and modern processing, this 10-ton beast gives music tracks, cinematic special FX and DJs’ sound systems a bottom end that goes all the way to the Earth’s core!

In developing bx_subsynth, Brainworx initially made a meticulous model of the legendary dbx 120XP Subharmonic Synthesizer’s Waveform Modeling™ engine, which generates discrete bass frequencies one octave below what you feed in to it. They then supersized the 120XP’s feature set to create much tighter, clearer, bigger and resonant bass.

For starters, bx_subsynth generates subharmonics in up to three discrete frequency bands versus the 120XP’s two—the addition of a higher bass band for resynthesis lets you capture and nosedive the fundamental frequencies of a much wider variety of instruments, including snare drum and acoustic guitar. The Tight Punch control creates crystal-clear, body-thumping bass by adding a resonant sub-bass peak and filtering out unwanted lows below its cutoff frequency. Powerful Edge processing lets you select from two modes of operation—Smooth and Harsh—that compress and saturate your tracks, alternately delivering super-compact or explosively trashy drums and throbbing, in-your-face bass guitar. And of course, being a Brainworx plugin, bx_subsynth is a surgeon’s knife for stereo imaging: On stereo tracks, you can choose to process only the mid channel or both left and right channels, collapse the processed bass to super-tight mono, and stretch the stereo image a mile wide.

Features

• Models the dbx 120XP Subharmonic Synthesizer’s elemental sound, with dramatically expanded processing capabilities and controls
• Adds thunderous lows to music tracks, cinematic FX and DJ sound systems
• Separate controls independently boost synthesized subharmonics in three bass-frequency bands, each of which can be soloed and feature an output-level meter
• Helpful signal indicators show you at a glance which subharmonic bands to boost for most dramatic effect on different sources
• A signal-boosting input-trim screw for each bass-frequency band helps generate strong subharmonics from dry bass signal that would otherwise be too weak
• Master volume knob controls summed subharmonics’ output level
• Tight Punch provides resonant high-pass—with adjustable cutoff frequency—for accentuated punch while taming excessive low end
• Low End control adjusts total bass output for perfect balance with mids and highs
• Two types of Edge processing—Smooth and Harsh—can be shaped with Low Cut and High Cut filters and fine-tuned with individual controls
• Mono Maker control sums bass band to mono below user-adjustable corner frequency for laser-like focus
• Stereo Width control adjusts stereo image from mono to mile-wide stereo
• Four fully automatable banks instantly recall alternate plugin settings for A/B/C/D comparisons

More info here

 

this is going to be the bomb

 

wow, really interesting. inspiring introduction i must say.

 

Roger Linn's Linnstrument 128