Toontrack EZMIX 2 Lite OEM

Toontrack EZmix 2 Lite is a preset based multi-effect mixing tool for all musical styles.
EZmix 2 Lite features 30 mixing presets (full version has 300), parametric EQ, filter, compressor, limiter, aural exciter, reverb, delay, phaser, and chorus.
EZmix 2 comes in VST, AU, RTAS and stand alone formats.

 

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Spectrasonics Omnisphere 2

 

The Spectrasonics Omnisphere 2 Virtual Instrument Software is a sequel to the incredible Omnisphere from Spectrasonics; a piece of virtual instrument software, featuring over 10,000 sounds and 400 new DSP waveforms. After many years of development, Spectrasonics are thrilled to announce that Omnisphere 2 is coming in 2015. This is the first v2.0 of any Spectrasonics instrument and it's truly a gigantic one! Check out the new feature list below for what to expect with this epic sequel to the incredibly popular Omnisphere.
Not everyone realises that Omnisphere can create purely synthetic sounds without using samples at all! With version 2, the DSP synth oscillators have been expanded from 4 to a breathtaking 400! Each is now a morphing wavetable offering a huge amount of variety.
With 8 wonderful new filters, and new modulation options than ever, opening up so many new custom sound opportunities. They have increased the total number of sounds on Omnisphere to well over 10,000 sounds, meaning that over 3000 cutting edge brand new patches, sources and multis expanding what you can do musically and creatively.
Omnisphere 2 has a new interface, featuring a new mini browser on the left side at any time. Opening the new full browser shows a cleaner layout and greatly improved sound organisation, which is critical when you have so much to choose from.
With the ability to create as many variations of sounds as possible, you can have completely original sounds to anyone else.
The main features of the Spectrasonics Omnisphere 2 Virtual Instrument Software include:

• Vast New Synthesis Possibilities:
  • Audio Import - Use your own audio file as a soundsource in Omnisphere
  • Over 400 New DSP Waveforms for the Synth Oscillator - an increase of 100X
  • Wavetable Synthesis - Each Waveform is now a Morphing Wavetable
  • Powerful New Granular Synthesis algorithm
  • Deeper FM/Ring Mod capabilities for aggressive timbres
  • 8 New Filter Types - New Power Filters, Vowel, Resonators
  • New Unison Drift models Analog Polysynth behaviour
  • Expanded Modulation with new sources and many more targets
  • Polyphonic LFO and Modulation Envelope options
  • Soundsource Reversing
• Now includes over 10,000 sounds!
  • More than 3,000 New patches and soundsources from acclaimed Spectrasonics Sound Design Team
  • New Omnisphere EDM library with cutting-edge, modern sounds
  • New Exclusive Soundsources from Diego Stocco's Custom Built Instruments
  • New category of Phrase-based Soundsources for granular synthesis
  • Hundreds of new Circuit Bent Soundsources
  • Many Innovative new Psychoacoustic Soundsources
  • New Melodic Cave Stalactites Soundsources
  • …and much, much more!
• New Interface:
  • Redesigned Wider User Interface with many improvements
  • New Show Modulation pane opens modulation routings/sources on left side
  • New Mini-Browser available at all times
  • Larger Full Browser Design
• Enhanced Browsing Experience:
  • Sound Match feature instantly locates any related sounds in the library
  • Sound Lock allows endless useful variations by locking sound aspects while you browse
  • Easy Sound/Project Sharing for collaborators and third party libraries
  • Greatly Improved sound organization system
  • Fast Progressive Loading allows rapid auditioning
  • Browse Patches by Mood
  • Expanded Genres
  • Browse by Oscillator type
  • Boolean search options
• New Arpeggiator Features:
  • Note transposition for step seq-style patterns
  • Arp pattern lock while browsing
  • Speed Offset control allows slow down/speed up effects
  • New modulation capabilities
• 25 New FX Units:
  • Innerspace
  • Quad Resonator
  • Thriftshop Speaker
  • Classic Twin
  • Bassman
  • Hi-Wattage
  • Rock Stack
  • Brit-Vox
  • Boutique
  • San-Z-Amp
  • Stompbox Modeler
  • Metalzone Distortion
  • Toxic Smasher
  • Foxxy Fuzz
  • Analog Phaser
  • Analog Flanger
  • Analog Chorus
  • Analog Vibrato
  • Solina Ensemble
  • Vintage Tremolo
  • Envelope Filter
  • Crying Wah
  • Stomp-Comp
  • Precision Compressor
  • Studio 2-Band EQ
• Flexible New FX Features:
  • 16 FX units per patch
  • Full matrix modulation of every FX slot
  • New Aux FX rack per patch with Pre/Post fader sends
  • Hundreds of New FX Presets and Racks
  • Lock FX while browsing
• Improvements/Special Features:
  • Live Mode with key splits
  • Enhanced Orb with Attractor mode
  • Tweak Trilian Custom Controls Interface inside Omnisphere
  • Global Clock Speed (Halftime, Doubletime, etc)

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Native Instruments Komplete 10 Ultimate

 

Native Instruments Komplete 10 Ultimate is a production suite for musicians, composers and producers of all genres that features an extensive collection of virtual instruments and effects. This package is Native Instrument’s flagship software bundle showcasing the most up to date and innovative VSTs whilst also including classic plug-ins such as MASSIVE, GUITAR RIG and REAKTOR 5; all of which have significantly contributed to the worldwide success of the NI brand. This production suite includes 75 products, over 17,000 sounds and over 440GB of samples and effects and is tailored to compliment Native Instruments S-Series keyboards.
KOMPLETE 10 ULTIMATE delivers the entire range of KOMPLETE Instruments and Effects* in one uncompromising package. Synthesizers and sampled instruments, creative and studio effects, plus epic cinematic instruments – this is the superlative collection for all production tasks.
It’s all there – the latest Native Instruments innovations like ROUNDS and MOLEKULAR, established heavyweights such as MASSIVE, and the classic powerhouse platforms REAKTOR 5 and KONTAKT 5. Bought separately, the total price of all included instruments and effects would be over £6600.00 highlighting this cost effective software package.
KOMPLETE 10 ULTIMATE delivers professional tools for any scoring task. Experience the dramatic power of ACTION STRIKES, RISE & HIT, KINETIC METAL, and more.
KOMPLETE continues to define the cutting edge of instrument design, synthesis and DSP technology lending itself perfectly to synthesized and electronic music.
Advanced sampled instruments open a world of sound in immaculate detail. Witness the unmatched realism of SESSION HORNS PRO, THE DEFINITIVE PIANO COLLECTION, CUBA, and more.
Twist and warp your sound, and add studio-grade effects for professional mixes. Make your music shine with MOLEKULAR, SUPERCHARGER GT, the REVERB CLASSICS, and more.
Dig deep into thousands of sounds with ease, thanks to the unified workflow of the KOMPLETE Instrument browser. Search across all KOMPLETE Instruments using musical tags and keywords – limitless inspiration in a single plug-in.
KOMPLETE KONTROL S-Series keyboards open up the full potential of KOMPLETE 10 ULTIMATE. Feel these advanced software instruments come to life under your fingertips – more intuitive, expressive, and inspirational than ever before. Turn KOMPLETE 10 ULTIMATE into a single, unified instrument and Take Kontrol.
This software package is a highly useful tool for all types of music makers and offers the option of integrating with other Native products for an even more expansive setup and experience .
The main features of Native Instruments Komplete 10 include:

• The industry-standard bundle for music professionals
• 75 products in total, with over 440 GB of samples
• Over 17,000 sounds covering a full range of styles from electronic to cinematic to sound design
• Includes the expressive ROUNDS synth and the drum designer POLYPLEX
• Comprehensive range of production tools, featuring KINETIC METAL, ACTION STRINGS, and RISE & HIT
• Outstanding collection of KOMPLETE Effects, including the stunning MOLEKULAR and SUPERCHARGER GT
• Completely re-envisioned acoustic piano suite – DEFINITIVE PIANO COLLECTION
• All instruments configured for immediate use with the KOMPLETE KONTROL S-Series
• Seamless integration with MASCHINE
• Ready for any DAW including Pro Tools, Logic, Cubase and Live
• Fast, easy installation from a dedicated USB 3.0 hard drive
   

System Requirements:

• Macintosh: OS X 10.8 or 10.9 (latest update), Intel Core 2 Duo, 4 GB RAM (6 GB recommended for large KONTAKT Instruments), 12 GB free disc space / 320 GB for complete installation, USB 2.0 port. Speci?c requirements vary depending on the individual program.
• PC: Windows 7 or Windows 8 (latest Service Pack, 32/64-bit), Intel Core 2 Duo or AMD AthlonTM 64 X2, 4 GB RAM (6 GB recommended for large KONTAKT Instruments), 12 GB free disc space / 320 GB for complete installation, USB 2.0 port. Specific requirements vary depending on the individual program.
• Supported Interfaces: Stand-alone, VST, Audio Units, ASIO, Core Audio, WASAPI, AAX Native (Pro Tools 10 or higher)
• Additional Information: The applications alone require 12 GB free disk space, the libraries require 308 GB on top = 320 GB free disk space in total. Note that the library size is 440 GB if uncompressed, but several libraries are compressed using advanced KONTAKT Lossless Sample Compression.

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20 Tips On Using Effects In The Mix

The way you use effects and processors can make or break a mix. Paul White offers 20 useful tips to help you get it right first time.

Recording can be fun, but for me, the most rewarding part of any project is doing the final mix. It's at this stage of the proceedings that effects and signal processors can be used to turn a simple recording into a major production -- but it's also easy to overdo things and spoil the end results. This month I've put together 20 easy-to-remember tips that will allow you to control your effects units rather than vice versa. And so, without further ado and in no particular order of importance:

1. Reverb creates the illusion of space, but in doing so it also 'smears' the stereo localisation of the original sound source, just as it does in real life. If you want to maintain a specific stereo placement for one or more sounds in a mix, consider using a mono reverb effect and panning the reverb to the same position as the original dry sound.

2. Reverb is very useful for making vocals sound more musical and for making them sit with the rest of the mix, but adding too much will have the effect of pushing the vocals back, rather than allowing them to take front position. Experiment with pre-delay values of 60-100mS to help counter this, and also try using a reverb patch that has a lot of early reflections, as these help reinforce the dry sound. You can learn a lot from listening carefully to records you like to see how much and what type of reverb is used. Often it's rather less than you think.

3. Bright reverbs can flatter vocals, but may exaggerate sibilance. As an alternative to de-essing the vocals, try instead de-essing the feed to the reverb unit, so that sibilance is removed before the reverb is applied.

4. Reverb is probably the most important effect in the studio, so don't compromise by using a low-quality software reverb plug-in just because you're short of processing power. Use a good external hardware reverb unit if you have one, otherwise choose a more powerful software plug-in to treat the vocal track in non-real time. This may involve off-line processing or doing a real-time 'bounce to disk' of the vocal track in isolation, via the plug-in.

5. Vocals almost always require compression, but rather than doing all the compressing at the recording stage, apply a little less compression than you think you might ultimately need, then add further compression when you come to mix. This dual-stage process ensures you don't record an overcompressed sound, whilst still allowing you to even out the level of the recorded signal.

6. Compressors bring up low-level noise just as effectively as they do low-level signals, so try to gate the signal prior to compression when you're mixing. Also, use no more compression than you need, or the signal-to-noise ratio may be compromised unnecessarily. However, it's usually unwise to gate the compressor input during recording for the reasons explained in the next tip.

7. Avoid gating during recording if at all possible, as a badly set gate can completely ruin an otherwise good take by chopping out low-level sections of the wanted audio. Instead, gate during mixing, when you have the chance to reset the parameters and try again if it doesn't work out first time. A further benefit of this approach is that any noise, crosstalk or spill accumulated during recording will also be gated out.

8. Always gate signals prior to adding reverb if you can -- gates can easily chop off the tail end of a long reverb. Furthermore, if you add reverb or echo after gating, any minor gating artifacts may be completely

"It's at the mix stage of proceedings that effects and signal processors can be used to turn a simple recording into a major production -- but it's also easy to overdo things and spoil the results."

hidden by the natural decay of the reverb or echo. Any noise added to the mix by the reverb unit should be negligible providing you've paid attention to gain structure and level setting when adjusting the effects.

9. Don't always set your gate to fully attenuate the signal when the gate is closed. In some situations, it may sound more natural if a low level of background sound is still audible between wanted sounds, and when working with drums, you'll find the gate opens faster if the range control is set to around 12dB rather than to maximum.

10. Single-ended noise-reduction units (the type that work by applying level-dependent top-cut) can be very useful in reducing the perceived level of hiss during material where there are no silences that would allow a gate or expander to operate. However, make constant A/B comparisons to ensure that there's no obvious top-end loss when the unit is switched in. If there is, lower the threshold slightly until you get an acceptable compromise between high-end loss during low-level passages, and audible hiss. As with gates, applying reverb after dynamic filtering may help disguise any side-effects as well as safeguarding the reverb tails from being truncated.

11. Don't add long reverb to bass sounds unless you have an artistic reason to do so, as this tends to muddy the low end of the mix. If you need to add space to a kick drum, try a short ambience program or a gated reverb as an alternative. If you are in a position where you need to apply reverb to an entire drum mix, roll off the low end feeding the reverb for a cleaner sound.

12. Chorus is a useful effect for creating the illusion of space and movement, but it also tends to push sounds back in the mix, rather as reverb does. If you need a sound treated with chorus to stand out in a mix, try either panning a dry version of the sound to one side and a chorused version to the other, or ensure that the song's arrangement leaves plenty of room for the chorused sound.

14. Equalisation is often used as an alternative to getting a sound right at source, but the result is seldom as satisfactory as doing things properly. Nevertheless, on occasions where equalisation is necessary, applying cut to the over-emphasised frequencies rather than boost to weaker ones generally results in a more natural sound, especially with vocals and acoustic instruments. This is especially true of in-desk equalisers or budget parametrics, as they often sound nasal or phasey when used to boost mid-range sounds.

15. Sounds can often be made to sit better in a mix by 'bracketing' them with high- and low-pass filters so as to restrict their spectral content. Many console EQs don't have the sharp filters necessary to do this, but the side-chain filters fitted to many gates are often ideal for the job. Simply set the gate to its side-chain listen mode, then use the filters to shave away unwanted high and low frequencies. Acoustic guitars often work better in a mix if the low end is rolled off in this way, though the high end can usually be left alone.

16. When setting up a mix, try to get the mix sounding close to right before you add any effects or signal processing. Once you've got this right, add further vocal compression if needed and also apply just enough reverb to make the vocals sit comfortably with the backing track. When you're happy with the overall timbre and balance, adding effects for 'effect' should be easier. Remember that, in most cases, effects are there just to add the final gloss -- they won't compensate for a poor balance or bad basic sounds.

17. Still on the subject of effects in the mix, don't be tempted to hide poor playing by heaping on more effects, it never works -- take it from someone who's tried everything at one time or another! However, thanks to the wonders of modern technology, slightly imperfect vocal pitching can be tightened up almost magically using pitch-correction processors, such as Antares' Autotune software or ATR1 hardware.

18. Go easy when using enhancers to treat complex signals such as a whole mix as it's very tempting to go too far. Make frequent use of the bypass button to remind yourself just how radically the sound has changed, and if you're adding more than a little high-end enhancement, check the bottom end to see if that needs bringing up to keep the overall mix in balance.

19. Often it's better to enhance just some elements of a mix so as to make them stand out from the rest. The best way to do this is to connect the enhancer to a pair of group insert points, then send all the sounds that need enhancing to that group. Listen carefully to enhanced vocals as the process can often exaggerate sibilance problems.

20. Treatments designed to increase the stereo width of a mix (other than the simple mixing-antiphase-signals-into-the-opposite-channel trick) can have detrimental effects on mono compatibility. Use your console's mono button to check that your mix doesn't lose too much when it's played in mono, as this is important when material is played over mono radios or TVs. Listen to see if the subjective balance or timbre changes by an unacceptable degree. If it does, either use less overall width expansion or leave the main mix elements untreated and only process secondary sounds, such as incidental percussion, sound effects, effects returns and so on.

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REVERB TIPS

 

Rather than trying to make everything in the mix in the same acoustic environment, why not use a couple of really diverse reverbs to add some strange depth to your tunes? A really dry, upfront vocal works nicely alongside a really 'drowned' string section or a small bright room setting on the drums.

Automate

Try automating return levels if you have a digital mixer so that the reverb comes and goes in different sections of the song. By tweaking the aux send levels, manually, during the mix you can add splashes of reverb on the fly to add interest to snares or vocal parts.

Take your time

Spend some time choosing or trying out different 'verbs. Different songs lend themselves towards different types and sounds. Don't just settle with what sounds good in solo...

Send that EQ

Remember you can always EQ the send. Most large consoles offer you a choice of high and low EQ on the aux sends. On small desks, route the instrument/voice to another channel via a group or aux send, float this from the mix and send this to the reverb effect. Now you can add EQ to the send and even automate it as it's now on a fader. This is commonly used for those delays and reverbs that you want to move easily during the mix, such as wetter vocal in the chorus.

Old tricks

Reverse reverb is an old trick, where you can hear a vocal before a singer comes in, or a snare before it plays, easily using tape as you simply turn the tape over and record it backwards. You can do it using a computer, but you will have to move the audio to the right place after recording it.

Use combinations

A combination of reverbs on things can be good. A short setting for the snap sound with a longer bright plate can turn a biscuit-sounding snare into a more live sound.

Old school plate

In the old days it used to be called delay to plate. You sent the signal to a loop of tape then sent that to the reverb. The speed of the tape would adjust the delay as the time it took to get from the record head to the playback head. This gives, say, a voice a dry sound before the reverb comes in, giving a more upfront sound while keeping the wetness, which would usually take it to the back of a hall somewhere! Some people still use the tape method today for that old school sound.

Simple drum one

Early reflections on drums can also give more of a tail or decay.

Experiment

A nice gated verb on guitars to old spring verbs on snares or even the mighty space echo can sound unique when balanced in the mix. That will give you more distance and room for placing things in a mix, while adding that extra sparkle to the sound.

More reverse

Reverse your sample, add reverb, then reverse your sample complete with reverb back around the right way again. This way, the reverb trail leads up into the sample, instead of trailing away from it.

And again!

For a different angle on the same reversed reverb theme, have the reverb trail panned left on a separate track, then the original sample centre-stage (ie. mono), followed by a regular reverb trail on another track panned right. The result is a reverb that leads up into the sample and trails away afterwards, while panning across the stage, left to right.

Reverb over your mix

Pick out key instruments or sounds and highlight them with reverb while using reverb sparingly, if not at all, on the remaining mix. You may have to adjust reverb send levels as the track progresses so you're not left with the track sounding dry where the reverbed sounds are no longer playing.

Reverb and bass

Usually, bass and reverb don't mix too well, unless you're specifically after a warehouse sound. Unfortunately, this effect results in a loss of definition among the bass regions. Run your reverb returns into a couple of spare channels in your mixer and back off the bass EQ, or add a high-pass plug-in EQ.

Go mono!

Don't forget using mono reverbs at times as well. These won't conflict with your rich stereo reverbs.

Pre delay

This determines time taken for

the initial reflections to return back from room walls. Use a calculator from www.hitsquad.com/smm to get a pre delay value matched to your tempo.

A common technique is to set the predelay to eighth-notes and add the reverb to a straight quarter note kick drum pattern to create an off-beat bouncy feel.

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Korg MS-20M Kit and SQ-1 Limited-edition Bundle

Korg has also been delighting analog synth fans for several years now. Their flagship true-analog synth, the Korg MS-20 Kit is a full-scale re-creation of their legendary MS-20, first released in 1978. Over time, used MS-20 prices climbed to over $4,000 as musicians appreciated the unique sonic signature found in

its powerfully resonant lowpass

and highpass filters, its 33 patchable 1/4" jacks, and its groundbreaking External Signal Processor. By buying it in kit form (no soldering), you can now own a re-creation of the MS-20 that also features modern MIDI input and USB connections for

only $1399.99. If you’d prefer a tabletop version (no assembly required), check out the MS-20M and SQ-1 Synthesizer and Sequencer Limited-edition Bundle.

Bargain hunters will love the MS-20 Mini analog synthesizer ($599.99), which has all the features of the 1978 MS-20 except that it’s 86% of the original size and adds MIDI in and USB connectivity.

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The Modern Touch Making Music with iOS Devices in the Classroom

The recent explosion of music-specific apps has resulted in a flood of innovative interfaces, microphones, and other peripherals that turn an already-powerful tablet into a
synth, a rhythm programmer, or even a full-on music production studio. The advent of affordable peripheral hardware makes it possible to take full advantage of these tools in your music program.
The advantage of tablets in the classroom setting is obvious: they provide a much more intuitive, flexible, and interactive platform for learning than hard-copy textbooks and workbooks. Tablets make it possible for students to access instant multimedia content as well as immediate, interactive feedback on their own work. As a teacher, whether you’re
working with theory, notation, composition, or arrangements, you’ll see right away what a difference iPads and iPods make on the quality of instruction. App-based synths, percussion, guitar amp models, multitrack recorders, and more open up musical worlds that would be unattainable with their costly hardware equivalents. Now, the arrival of affordable iOS peripherals has allowed teachers and students alike to turn these apps into serious learning, creation, and performance tools.
Now used as everything from interfaces to microphones to docks that add connectivity, new peripherals for iPhones, iPods, and iPads have exploded in number. Plug an inexpensive, simpleto-use stereo mic attachment into an iPod touch, and you have a handheld recorder that’s capable of capturing CD-quality audio during performances or rehearsals. A student
can dock an iPad to a peripheral loaded with connection options and then plug in microphones, instruments, and even

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