Take Advantage of the Government’s “Instant Asset Write-Off” Program
The instant asset write-off threshold has been increased from $30,000 to $150,000 and expanded access to include businesses with aggregated annual turnover of less than $500 million (up from $50 million). This applies from 12 March 2020 until 30 June 2020, for new or second‑hand assets first used or installed ready for use in this timeframe.
The Instant Asset Write-Off (IAWO) Threshold
The higher IAWO threshold provides cash flow benefits for businesses that will be able to immediately deduct purchases of eligible assets each costing less than $150,000. The threshold applies on a per asset basis, so eligible businesses can immediately write‑off multiple assets.
The IAWO is due to revert to $1,000 for small businesses (turnover less than $10 million) from 1 July 2020.
The Government is expanding access so that more businesses can take advantage of the IAWO. The annual turnover threshold for businesses is increasing from $50 million to $500 million. Expanding the threshold will mean an additional 5,300 businesses who employ around 1.9 million Australians will be able to access the IAWO for the first time.
This proposal applies from 12 March 2020 until 30 June 2020, for new or second‑hand assets first used or installed ready for use in this timeframe. However, these changes do not take effect until new laws are passed.
We’ll provide more information about how to access the IAWO as it becomes available.
Examples of how the instant asset write-off can help your business
Business benefits from increased asset threshold
Owen owns a company, ON Point Farms Pty Ltd, through which he operates a farming business in the Central Wheat Belt of Western Australia. ON Point Farms Pty Ltd has an aggregated annual turnover of $25 million for the 2019‑20 income year. On 1 May 2020, Owen purchases a second hand tractor for $140,000, exclusive of GST, for use in his business.
Under existing tax arrangements, ON Point Farms Pty Ltd is not able to immediately deduct assets costing more than $30,000 and instead would depreciate the tractor using an effective life of 12 years. Choosing to use the diminishing value method, ON Point Farms Pty Ltd would claim a tax deduction of $3,899 for the 2019‑20 income year.
Under the new $150,000 instant asset write‑off, ON Point Farms Pty Ltd would instead claim an immediate deduction of $140,000 for the purchase of the tractor in the 2019‑20 income year, $136,101 more than under existing arrangements. At the company tax rate of 27.5 per cent, Owen will pay $37,427.78 less tax in 2019‑20.
This will improve ON Point Farms Pty Ltd’s cash flow and help his business withstand and recover from the economic impact of the coronavirus.
Business benefits from increased turnover threshold
Samantha owns a company, Sam’s Specialty Roasters Pty Ltd, through which she operates a large food processing business in Brisbane. Sam’s Specialty Roasters Pty Ltd has an aggregated annual turnover of $150 million for the 2019‑20 income year. On 1 May 2020, Samantha purchases five new conveyor belts for her production facility for $40,000 each, exclusive of GST, for use in her business.
Under existing tax arrangements, Sam’s Specialty Roasters Pty Ltd is not eligible for the instant asset write‑off and instead would depreciate the conveyor belts using an effective life of 15 years. Choosing to use the diminishing value method, Sam’s Specialty Roasters Pty Ltd would claim a total tax deduction of $4,456 for the 2019‑20 income year.
Under the new $150,000 instant asset write‑off, Sam’s Specialty Roasters Pty Ltd would instead claim an immediate deduction of $200,000 for the purchase of the conveyor belts (i.e. $40,000 for each conveyor) in the 2019‑20 income year, $195,544 more than under existing arrangements. At the company tax rate of 30 per cent, Samantha will pay $58,663.20 less tax in 2019‑20.
This will improve Sam’s Specialty Roasters Pty Ltd’s cash flow and help her business withstand and recover from the economic impact of the coronavirus.
AWAVE provides multiple payment options from Latitude Financial Services. To read about other options from Latitude click here.
Latitude Pay is now available at AWAVE!
Latitude pay is and exciting new way to pay. Shop at your favourite stores, online or in person. Buy the things you love to empower the life you want and pay just 10% upfront with LatitudePay.
There are zero surprises with LatitudePay. It does what it says on the box: 10 weekly payments instead of all at once. No interest, and no waiting for your new gear or great experience, just wonderful-ness.
Get set up in minutes
Sign up is super simple and if approved you can start using LatitudePay straight away.
No interest. Never ever
Latitude pay won’t charge you interest, and you won’t pay any fees when you pay on time. Payments are automated, plus Latitude will remind you.
No more waiting for weeks for what you want today, get it now and pay over 10 weekly payments. When you’re inspired, strike like a cobra. A shopping cobra.
When shopping for an audio interface, singer/songwriters and podcasters oftentimes don’t need the full gamut of features. They want a reliable, easy-to-use unit that sounds great. That’s exactly what MOTU’s latest offerings give you — a streamlined design, high-level performance, and top-notch sound. This series of budget-conscious and high-quality USB-C audio interfaces includes the 2-in/2-out M2 and the 4-in/4-out M4.
Class-topping Sound Quality
When it comes to audio quality, the M2 and M4 are at the top of their class. They boast ESS Sabre32 Ultra DAC technology (the same D/A as MOTU’s flagship 1248), delivering unbelievable clarity with 120dB of dynamic range. Both models include MOTU’s transparent-sounding mic preamps, low-noise DC-coupled analog outputs, and an ESS-driven headphone output. Their latency specs are impressive, yielding round-trip latency as low as 2.5ms at 32-bit/96kHz. Whether you’re recording, mixing, or just listening, you can expect top-level sound from these audio interfaces.
Podcasting Made Easy
MOTU’s M2 and M4 are tailor-made for livestreaming and podcasting, thanks to their loopback function. This enables you to blend your mic and other input signals with your computer’s output and then send the blended signal back to your computer, where it can be recorded. The M4 takes this functionality to a higher level with the inclusion of a Mix knob that balances your live input with your computer’s playback.
Zero-latency Hardware Monitoring
Recording with the M2 and M4 is a pleasure, by virtue of their 1-touch hardware monitoring capability. This feature routes all the interface’s analog inputs directly to its analog outputs, thereby granting you zero-latency operation. The result? No annoying delay between what you play, sing, or say and what you are hearing in your headphones. You can also record the interface’s inputs simultaneously, which supplies zero latency while tracking.
Focal Trio11 Be – The Loudspeaker Dedicated to Nearfield and Midfield
As well as new speaker drivers (a 5” midrange and a 10” subwoofer) with high efficiency and power handling, the Trio11 Be monitor enjoys all of Focal’s very latest technologies when it comes to acoustics and electronics: TMD and NIC technologies; optimised vents that promote dynamic control and perfect bass definition; high excursion, enabling even more linearity of the subwoofer…
Thanks to its class G amplification, Trio11 Be delivers a high SPL (118dB at 1m) and offers a great versatility of use and installation configurations in nearfield AND midfield applications. A key asset, always coming along with an extremely precise sound reproduction and stereo image.
With an extended bandwidth (30 Hz-40 kHz), this loudspeaker is also composed of a 3-way monitor and a 2-way monitor, just like Trio6 Be, which lets you check the mix transfer sound quality thanks to FOCUS mode.
With Trio11 Be, power and versatility are waiting for you!
With a reputation for creating the world’s sweetest sounding and longest-lasting analogue and digital consoles, the most discerning artists, producers and facility
owners regard our products as number one for desirability on their equipment list,
and have done for the past fifty years.
AMS Neve is a dedicated, engineering-led and privately owned Company whose continuing mission is to provide the best possible sound, capability and operational
experience for the most creative people in the world – whether it be for film,
recorded music, or TV and broadcast.
All of our products are designed and built in England in our purpose built,
integrated facility. Close supervision of the entire process by the
product designers ensures the finest performance possible.
Recognised by all the premier bodies in the various fields of music, TV and film, the products and their designers have been honoured by two Scientific and Engineering Academy® Awards, an Emmy™ and a Grammy™ amongst many others. We have
pioneered a very large number of the ground-breaking techniques in the industry
including hard disk editing, digital console technology, digital audio for film, microprocessor controlled effects units and standards such as MADI.
In the transient world of short product life cycles, AMS Neve’s products stand the
test of time. In addition to being designed and built to last, our long-standing policy
of offering continuing upgrades to take advantage of the latest technology and
techniques on many products means obsolescence is minimised. The value in your
AMS Neve equipment remains long after the alternatives are in landfill. A large
proportion of all the products we have ever made are still in daily use and many
have achieved iconic, dearly loved and valuable status.
Introducing The Slate Digital VRS8 Thunderbolt Interface
The result of nearly three years of development, the new VRS8 Virtual Analog interface unifies Slate Digital’s software and hardware into a robust audio ecosystem called The Virtual Recording Studio. We used a “no compromise” design approach, resulting in a fantastic-sounding eight channel audio interface that leads the industry when it comes to components, specs, price and performance.
EIGHT ULTRA LINEAR PREAMPS
The start of any signal chain is extremely important, which is why the VRS8 features EIGHT high bandwidth Ultra Linear microphone preamps. These are the same ‘blank canvas’ design as the VMS-One preamp from our award-winning Virtual Microphone System, enabling you to use our modeling software to recreate the authentic sound of famous microphones and preamps. Each preamp has its own high-quality metal knob, so you can easily set levels like a regular analog preamp – instead of using single logic controller knobs and menus, as some of our competitors have chosen to do.
INDUSTRY BEST CONVERTERS
The next step in the signal chain is the converter itself. Instead of using budget components, the VRS8 offers mastering-quality conversion by incorporating the newest AKM AK5578 converter chips – offering a whopping industry-best 124db of dynamic range on all 8 inputs!
HIGH QUALITY COMPONENTS
The sound of an audio interface relies on much more than the converter chip itself – all of the components in the audio circuit have a direct result on the audio quality. Keeping to our “no compromise” design aesthetic, the VRS8 utilizes high-quality WIMA capacitors for the entire audio path.
LOW LATENCY NATIVE
Part of the goal behind creating the Virtual Recording Studio was to provide a near-realtime experience when using our analog modeled plugins while tracking. In order to achieve that goal, we created a new technology called LLN, which stands for “Low Latency Native”. LLN utilizes a custom hard-wired converter chipset, which reduces managed components in the audio path and allows an incredible .7 milliseconds of latency at 96K (with a 32 sample buffer). This latency spec allows you to monitor through mic and preamp emulations while tracking, giving you the ability to hear your audio in context while still allowing you to change your mind later.
XTC AUDIO CLOCK
The audio clock is the heart of any recording interface, which is why it was important that the VRS8 had a killer clocking system onboard. We use satellite-grade XTC clocking technology, utilizing four temperature-compensated crystal oscillators for ultra-stable audio performance, keeping your audio jitter and distortion free.
DISCRETE HEADPHONE AMPLIFIERS
Most engineers listen to music on headphones when working in the studio, but headphone amplifiers are the first place that manufacturers usually look to cut costs when building an interface. Instead of using typical designs that cost mere pennies, we use discrete amplifiers to ensure that your headphones sound robust and clear for all of your monitoring tasks. Not only that, we also added in two separate monitor mixes and the ability to use the VRS8 as a speaker switcher.
CROSS PLATFORM LOW LATENCY PERFORMANCE
The world of audio interfaces is rarely cross-platform when it comes to performance, meaning that Mac devices (using Thunderbolt) usually far outperform PC interfaces (using USB). While USB can be effective for two-channel designs, it requires more CPU overhead to manage, resulting in higher CPU usage and latency versus Thunderbolt – and the problem just gets worse as you add more channels. Unlike any other interface on the market, the VRS8 offers both Thunderbolt and PCIe connectivity for maximum cross-platform compatibility. The PCIe performance is the same as Thunderbolt. You can also link up to 6 VRS8’s via Thunderbolt to achieve 48 inputs and outputs.
NATIVE MIDI IO
Our “no compromise” design goal extended well into areas that other manufacturers simply ignore, which is evidenced by the VRS8’s native MIDI IO. Unlike USB MIDI interfaces (where MIDI information has to fight with your mouse, keyboard, and other USB traffic) MIDI IO on the VRS8 never touches the USB bus. You can count on hyper-accurate MIDI timing, and stuck sustain pedals when tracking keyboards and synths should become a thing of the past.
EVERYTHING BUNDLE – FREE FOR ONE YEAR!
The Slate Digital Virtual Recording Studio Ships With A Year License Of The Everything Bundle. The Everything Bundle includes all of the award-winning Slate plugins, worth thousands of dollars. Using the VRS8 and VMS Microphones, you’ll be able to track through world-class microphones, preamps, equalizers, and more in real time.
THE VRS EXPERIENCE
Now you can experience the Slate Virtual Recording Studio including all of our microphone models. Click below to go to the VRS Experience page where you can download all the Slate plugins including demos of our VMS microphone plugins, as well as a multitrack session recorded with VMS mics through our VRS8 interface. When you download the plugins and the session, you can load up a track, and experiment with different world-class virtual microphones from the mic locker. Hear the vintage FET47F, 414, and ribbon 121. Try the vocals through the vintage tube 67s, 251, 47s and more.
Awave Mix It with FOCAL SM9 Trade In Deal (Limited Time Only)
Get a pair of amazing Focal SM9 Studio Monitors for $5999.00, when you trade ANY eligible model from brands including ADAM, DYN-AUDIO, KRK, EVENT, GENELEC, EVE, BAREFOOT, QUESTED, FOCAL, MACKIE, PMC, UNITY AUDIO, YAMAHA.*
These professional studio monitors normally retail for $12,398 A PAIR!
Call Awave on 03 9813 1833 or email email@example.com to organise you trade in deal today, before stock runs out.
*All monitors traded must be in pairs. Subject to full working & cosmetic condition – offer is limited while stocks last
There are a few limitations of the original Fairchild that we set out to address. First, we have made careful adjustments to the circuitry that greatly improve the lifespan and reliability of the tubes. Additionally, we’ve added a whole host of exciting new features that have never before been available on a Fairchild. The UnFairchild sports 6 original preset Time Constants and 4 variable Time Constants (attack and release), MS function, side chain processing, a true bypass, fine adjustment of left/right balance, user adjustable “DC Threshold”, and “Feed-Back” vs. “Feed-Forward” functionality. With the UnFairchild, we’ve made this extraordinary circuit flexible enough to handle pretty much every compression task on any style of music.
Based in Southern California, BAE build hand-wired transformer-balanced outboard recording gear faithful to classic English and American designs.
We stock all BAE Audio’s extensive product range here at Awave which you can view here:
Fidelice by Rupert Neve Designs – Studio sound comes home.
Since the late 1960s, Rupert Neve has been the most trusted name in sound.
And chances are, most of your favorite albums from the last fifty years were recorded, mixed or mastered with his legendary studio gear.
With the new Fidelice® line of playback equipment, the classic sound of Rupert Neve’s designs is now available to bring true studio-quality audio to your home.
“I love Rupert’s philosophy that we need to have a frequency response in our sound system that goes beyond human hearing – and he was the one that really pioneered that whole notion. His name is just synonymous with quality.”
Free, on-going DP10 webinars are now scheduled through the end of July. Become an expert DP10 user with these interactive training sessions. We’ll start each session with a lesson on a particular feature or workflow, followed by interactive Q&A with MOTU product specialists. Check out the schedule below and follow the instructions to get connected.
API Audio has always been synonymous with large sounding American rock records that have lots of analog warmth. One of the key elements of that sound is the API 312 mic pre, which API has just announced is coming back to regular production in 2020.In celebration of API’s 50th anniversary, the brand released a limited edition hand-wired version of the 312 in 2019. The new version of the famed preamp announced today is a standard production version that costs $795 and offers the same classic API sound in a 500 Series format.The 312 circuitry is based on Saul Walker’s original designs and utilizes 2520 op-amps and proprietary transformers. Many of the same features that made the 50th Anniversary edition such a hit are intact here, including the beautiful analog VU meter, 20 dB pad switch, and peak LED. This version of the 312 offers a maximum 69dB of gain.
Are you ready to hear that classic API sound in action? We got our hands on the new 312 mic pre a few days prior to today’s announcement and put it to work in the Vintage King demo studio. Watch below to hear the preamp used on several different sound sources, including acoustic guitar, electric guitar, drums, and vocals.
Introducing the Neve 8424 Console – Connect. Compose. Create.
This small footprint, versatile console majors on connectivity, giving users complete and fast control of their sessions without compromising on sound quality. Legendary 80-series Neve sound, 4 groups, 24 channel faders.
JUNE 2020: JOIN MANLEY IN CELEBRATING MASSIVE PRIDE!
In celebration of LGBT Pride Month 2020, Manley Labs is extremely liberated to announce the MASSIVE PRIDE: a special edition of our classic best-selling MASSIVE PASSIVE Stereo Tube Equalizer with rainbow cosmetics derived from the original 1978 gay pride rainbow flag.
At Manley Labs, we believe in equality for all human beings regardless of gender, race, or sexual orientation, and thus we will be donating our proceeds from sales of this unit to the Human Rights Campaign: https://hrc.org
From EveAnna Manley:
“In the spirit of social inclusion and recognition of our desire for the supportive embrace of all people, I invite everyone to help celebrate Gay Pride Month 2020 with us. May unification, peace, and calm be eventually restored to our planet with love, appreciation, and understanding for all of our fellow humans.”
50 units of the MASSIVE PRIDE are available now for pre-order through authorized Manley dealers and distributors worldwide, and will be shipping in late June. This is the current version, featuring the new MANLEY POWER® switch-mode power supply. Pricing is the same as the standard Massive Passive.
Barefoot MicroMain45 – Big Studio Sound, Modern Day Flexibility
Featuring the same signal path, amplifier and driver technologies as our flagship MiniMain12, the MicroMain45 is stripped down to the bare essentials in order to deliver renowned Barefoot resolution and translation at a more affordable price. The MicroMain45 is becoming another industry standard, with top producers, artists and studios like Alex Da Kid, Nathan Willett (Cold War Kids) and EastWest Studios using them everyday.
As a 3-way active monitor, the Barefoot MicroMain45 utilizes the same amplifier, signal path and driver technology of the MiniMain12. Downsizing the hefty 130+ lbs size of the original to a tight 35+ lbs package, the MicroMain45 features an 8” aluminum woofer, two x 2.5” aluminum midranges and a 1” tweeter. With a bass response of -3dB @ 40Hz, frequency response of 40Hz – 45 kHz (±3dB) and 53Hz – 40kHz (±1dB), this is the sound that Barefoot enthusiasts have come to know and love.
Founded on the idea of creating a new type of audio monitor, Barefoot Sound was started by Thomas Barefoot to meet the growing needs of small to mid-sized project studios. By offering well-designed monitors that could take the space of several sets of speakers, audio enthusiasts are able to have more room for other types of gear, while still having an impeccable monitoring system. The Barefoot Sound MM45 monitors follow in this lineage of incredible speakers like the MicroMain27 and MicroMain35.
MEME™ Technology: Despite the advantages of high resolution monitors, Thomas Barefoot realizes that many engineers still use their NS10M’s † and mix cubes as secondary references. These speakers have long traditions and people find them familiar and useful for focusing in on certain aspects of their mix. However, crowding one’s console with those extra boxes degrades the sound field of the primary reference monitors. Not to mention, they are no longer manufactured, they need amplifiers, cable runs, and they consume more studio space. The solution is to make the MM45 sound and translate like those speakers. With the turn of a knob one can switch from the MicroMain45′s brutally revealing “Flat” response to the warmer and sweeter “Hi-Fi” setting, generically emulating the sound of some high end consumer audio gear. More specifically the “Old School” setting closely emulates the sound of the NS10M nearfield, while the “Cube” setting emulates the mid-centric sound of classic mix cubes The idea is not to perfectly replicate every subtle quirk of these venerable old speakers. That would be impossible. But the MM45 can capture the essence of how they behave and translate, modeling their frequency, phase and transient responses, dynamic compression and even specific distortion components. If you know how to work on these speakers you will feel very comfortable working on the new MM45′s emulation settings.
† NS10M is a trademark of Yamaha Corp. and has no affiliation with Barefoot Sound.
Jacob Shea on Using the Eventide H9000R In Film Scoring
Eventide H9000R Powers Theme and Score Composition for Bleeding Fingers Music’s Jacob Shea
The BBC Natural History Unit’s Seven Worlds, One Planet wildlife documentary series, filmed over nearly five years across all seven continents, features a theme and score composed by Hans Zimmer and Jacob Shea of Emmy- and BAFTA- nominated Bleeding Fingers Music. For this latest series, Shea, who also worked alongside Zimmer on the music for the BBC’s Planet Earth II and Blue Planet II series, made a significant change to his workflow, implementing Eventide’s flagship H9000 multi-effects processor and Emote control software.
“The H9000 is just so deep, and so thoughtful, in terms of the way that these effect algorithms are built. I’ve had it for a year now and I feel like I haven’t scratched the surace,” says Shea, who integrated the processor into his studio at Zimmer’s multi-room Remote Control complex in Santa Monica, California, where he has worked for the past 12 years. Bleeding Fingers, a composer collective based at the facility, was launched by Zimmer with business partner Steve Kofsky and Extreme Music’s Russell Emanuel in 2013 to provide custom music to television and film projects.
Shea opted for the H9000R, a version of the 2RU processor unit with no front panel controls that mounts in a machine room or other remote location. Control of all the settings and parameters is handled by Emote, which is available as a standalone Mac and Windows application and as an AAX, AU and VST plug-in. When instantiated as a plug-in, all of Emote’s parameters may be automated within the DAW session. “I use a two-screen system; one screen has Logic and the other has Emote in full view. So the chains of effects are all editable on the screen next to my main workspace,” he says.
The H9000 is loaded with 1600 unique algorithms from Eventide’s H8000 and H9 processors with over 500 presets offering a menu of reverb, delay, modulation, pitch shifting, distortion and other settings. The unit introduces a new paradigm, FX Chains, that allows the user to connect any set of four effects, with flexible routing, to create a channel strip, guitar pedalboard or other processing combination.
Shea, who is a guitarist, continues, “What I enjoyed doing when I first got it was just building weird chains of stuff. I did one where it went to the SP2016 [reverb], then the Q-Wah, then the Reverse thing, to make it all psychedelic, and then the TremoloPan, to get some modulation in there. You could spend three hours just messing with this stuff, which is the joy of it.”
Offering another example, he says that with the Synthlike Filter algorithm “You can use it as a high pass and a low pass filter and really sculpt where you want the effect to be ‘speaking.’ It’s little things like that that you can insert in this chain of four that all of a sudden makes something super extreme [into something] a lot more usable or a lot more subtle. You can have this crazy chain, and because you are able to superimpose some of these more utility-style building blocks, it’s just awesome.”
Shea has been particularly inspired by the reverb algorithms in the H9000, he says. Multi-channel algorithms available in the unit include 5.1 halls, chambers, plates, rooms, booths and various ambient spaces. Shea uses a Session preset loaded with eight reverb algorithms including halls, rooms, plates, Blackhole and Shimmer (Sessions are the top level in the H9000 software control hierarchy; a Session saves the entire state of the hardware and software at a given moment). “A lot of times, when I was working on an emotional piano and strings piece, those H9000 algorithms beat out anything that I had in-the-box. I feel like you can get these very long tails that don’t make the drive signal feel like it’s not defined. Anyone that’s walked in the room has said, ‘How the hell did you get that reverb to sound so good?’”
Shea began using Eventide plug-ins long before adding the H9000 and says that one of his favorites is still the SP2016 Stereo Room. “I use that all over,” he says, typically to reposition a close-miked source in a larger space. “It feels like you recorded it in a more expansive place than where you actually recorded it. Alan Meyerson hipped me to that process on Planet Earth II, when he mixed the score for that series. I’ve been using it that way ever since, and it’s tremendous.”
As a composer, Shea says that he really appreciates the musicality of the H9000, which enables him to beef up the sound of an instrument harmoniously. “Each pitch can have its own settings, and its own time with which it’s to speak; you can pick the scale for each thing,” he explains. “You can make it so much more musical than an off-the-shelf pitch thing, where you wind up doing endless passes of automation in Logic to force it to be musical” — because it isn’t a musical tool but rather a utilitarian effect.
“So it was a breath of fresh air when I pulled up the pitch shifting algorithms. I can just focus on my idea as a composer and not have to worry about a wrong note jumping out and taking me out of it, and making me try and solve a problem that doesn’t have anything to do with the creative ideas that I’m focusing on. It has made playing with the thickening of harmonics really effortless.”
Over 1,500 people worked on the seven-part Seven Worlds, One Planet, which involved more than 90 shoots in 41 countries. Of the three BBC Natural History Unit series to feature music by Bleeding Fingers, “I’ve been a composer,” says Shea. “I was lucky enough to be paired with some amazing composers on those projects. This one was the first one where I had a more omnipresent role in the music, save for Anže Rozman, who helped me write a couple of cues.” Shea also co-wrote the main theme for this latest series with Zimmer. The series debuted October 2019 in the U.K. and is narrated and presented by naturalist Sir David Attenborough. It debuted on multiple outlets in the U.S. in late January 2020.
Rupert Neve Designs 15th Anniversary, a new 5088 video, and more!
15 Years of Rupert Neve Designs
It’s hard to believe, but it’s been fifteen years since Rupert Neve Designs was founded by Rupert, his wife Evelyn, and Josh Thomas.
In 2005, Rupert Neve Designs began with the original Portico modules, taking concepts he began with the original Neve Company, Focusrite, and AMEK, and combining them into a new line of outboard equipment that took Rupert’s vision of high-fidelity audio and adapted it for a more modular, modern workflow.
The Portico Series was followed by the 5088 console – the pinnacle of Rupert’s console design philosophies, and the only modern console with the same level of build quality as his legendary 80-Series consoles from the early 1970s. To this day, those desks are still regarded as perhaps the greatest vintage consoles ever built, and the 5088 is the only console currently in production that carries their design philosophies onwards without compromise. With higher voltage and lower noise than the beloved vintage desks, custom transformers on every single input and output, and a truly stunning amount of headroom, there is nothing else like it being made today.
And with users ranging from Alan Parsons to deadmau5, Historic RCA Studio B to Jack White, the San Francisco Conservatory of Music to Willie Nelson’s Pedernales, the 5088 has firmly cemented its position as the console of choice for artists, engineers, studios and universities who require the best sound quality in the world.
Mix Engineer Joey Raia (Run The Jewels, Travis Barker, Aesop Rock) gives us his thoughts on getting out of the box and away from a screen, and how his 5088 has made the mix process that much more enjoyable.
Our #washandlearn Campaign
The first week of April, we started an Instagram campaign to inspire, educate, and encourage health & charity in the recording community during these difficult times. These short videos feature producers, artists, engineers, studio managers and more, all washing their hands on camera while teaching our fans something about recording, mixing, creativity, or music business.
These videos have garnered over 100K combined views, and all include links to MusiCares, Help Musicians, and other charitable organizations.
Setnor School of Music at Syracuse University recently installed several RMP-D8 Dante-connected microphone preamplifiers and converters to provide a high-end AoIP recording solution for their entire campus.
Here, Kevin Muldoon (Recording Engineer) and Brian Loney (Sweetwater Sales Engineer) discuss why the RMP-D8 was the ideal solution for the school, and the advantages of this new networked audio system.
Moog Introduces the New Subharmonicon Semi-Modular Polyrhythmic Analog Synthesizer
Moog Subharmonicon is a semi-modular polyrhythmic analog synthesizer designed for the exploration of sequences that unfold and evolve over time, spiraling through 6-tone subharmonic chords and organic polyrhythms.
Subharmonicon’s unique approach to music-making is inspired by the innovative ideas on electronic instruments and experimental music that emerged during the 1930s and 1940s. Combining music and math, these early avant-algorithmic concepts laid a foundation for our modern exploratory practices. (For further learning, research the work of Joseph Schillinger, Oskar Sala, and Leon Theremin)
Subharmonicon is capable of complex sounds and patterns, yet is incredibly simple to use. With 2x VCOs, 4x Subharmonic Oscillators, 2x 4-Step Sequencers, and 4x Rhythm Generators, Subharmonicon creates a rich harmonic kaleidoscope that divides into itself until everything that is up becomes down.