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Introducing The Slate Digital VRS8 Thunderbolt Interface

Introducing The Slate Digital VRS8 Thunderbolt Interface

THE VRS8
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.

FEATURES

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.

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Awave Mix It with FOCAL SM9 Trade In Deal (Limited Time Only)

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 sales@awave.com.au 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

 

 

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Dave Smith Instruments Introduces the Prophet X

Dave Smith Instruments Prophet X

Dave Smith Instruments Introduces the Prophet X

Samples Plus Synthesis!

Dave Smith Instruments today announced the Sequential Prophet X, a new, bi-timbral, 8-voice-stereo (16-voice mono) synthesizer that combines samples and synthesis. At the heart of its sound is a newly developed engine that powers two simultaneous 16-bit, 48kHz sample-based instruments plus two high-resolution digital oscillators with waveshape modulation — all processed through analog filters.

Dave Smith commented: “The Prophet X is a powerful evolution of the Prophet series. Musicians have been asking for samples through real analog flters for a long time. We’ve given them not only that, but also all of the synthesis capabilites and awesome sound you’d expect from a Prophet.”

For sample content, Dave Smith turned to acclaimed sound developers 8Dio, known for pioneering “deep sampling,” a detailed approach to sampling that aims to capture all of the nuances and idiosyncracies of a particular sound or instrument. 8Dio co-founder Troels Folmann put it this way: “We’re known for going anywhere and everywhere with sounds. We embrace all sounds as music and feel that if you can capture the musical soul of a sound, you can make it into an instrument. The Prophet X gives musicians a very immediate and responsive way to access this expressiveness.”

The 150 GB sample library in the Prophet X includes numerous acoustic and electronic instruments as well as an extensive collection of ambient and cinematic effects. Users can shape the samples through loop manipulation, sample stretching, and the synthesizer’s many sound-sculpting functions which include 4 envelope generators, 4 LFOs, a deep modulation matrix, and other tools. The Prophet X also provides 50 gigabytes of internal storage for importing additional samples. Several sample libraries will be available from 8Dio at launch. Support for user-created sample content is planned for December, 2018.

A dual-effects engine provides multiple reverbs, two delays (standard and BBD), a chorus, flanger, phase shifter, rotating speaker, high-pass filter, and distortion. In stacked or split voice mode, you can apply two different effects to each layer. Effects parameters can be modulated through the mod matrix as can the samples themselves. A polyphonic step sequencer allows up to 64 steps and up to 6 notes per step, per layer. The Prophet X features a premium-quality, five-octave, semi-weighted keyboard with velocity and channel aftertouch, an integrated power supply, USB support, and three OLED displays.

Dave Smith summed up the new instrument: “Composers will love the Prophet X for soundtracks and synth geeks will love it for its sound mangling potential. But it’s really for everyone because it covers such a wide range of sounds. The new analog filter design we’re using is not only fantastic for synth sounds, but also does something special for the samples.” Added 8Dio co-founder Tawnia Knox: “The Prophet X has almost infinite posibilites. But more importantly, it has a soul. It’s alive. You can touch your sounds in a different way than you ever could.”

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Undertone Audio In Stock at Awave

Undertone Audio_Awave

Undertone Audio In Stock at Awave

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.

Checkout the Unfarichild 670M II and more below.

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IN THE SPOTLIGHT: BAE Audio

In The Spotlight BAE Audio

IN THE SPOTLIGHT: BAE Audio

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:

https://awave.com.au/brand/bae-audio

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Source Audio – The C4 Synth’s Older Brother

Source Audio – The C4 Synth’s Older Brother

Tone Matching: The C4 Synth and a Eurorack Analog Modular Synthesizer

Gotta tell ya’, making this video was a blast! We recently packed up the camera and sound equipment and headed over to our Chief Scientist Bob Chidlaw’s house to do some sound comparing and tone matching between our new C4 Synth pedal and Bob’s Eurorack analog modular synthesizer.

We’ve talked fairly extensively about how the C4 Synth’s Neuro Desktop software (free download for Mac and Windows) mimics the signal flow of a vintage modular synth, this video really illustrates the point. Actually, creating sounds with the C4 is considerably easier than wiring up a patch with a vintage modular synth (dealing with the modular’s mixed-up tangle of cables can be a bit tiresome) and the resulting tone is exceptional – we’re talking full-on swelling, buzzing synth euphoria.

WATCH IT NOW!


Mike Hermans (a.k.a. “Pop Into the Chemist”) Demos the C4 Synth

One of the best parts of releasing a new pedal is that we get to hang out with our old friend Mike Hermans (he lives in nearby Somerville, MA) and show him around the new pedal. We also get to hear some awesome guitar playing. Mike totally killed it in this C4 Synth demo video – so many great sounds. He even treated us to a Depeche Mode cover and a snippet from the Top Gun Soundtrack – “I feel the need… the need for speed!”

WATCH IT NOW!


This Month’s Featured Neuro Presets

We were truly blown away by the response to the C4 Synth and all the amazing User Presets that have been created in just the first couple of weeks. Seriously, you folks dove into the C4 Synth’s Neuro Desktop Editor and created pure beauty. Below is just a sample of greatness we heard!

Our friend Simon Francis (@sifrancis ) is a bass effects guru. We first met Simon at the Boston Garden when he was using the Soundblox Bass Envelope Filter on tour with Ellie Goulding. If you’re a bassist with a passion for EDM, we highly recommend checking out Simon’s “Reese Bass” and “Synth Bass” presets.

Checkout @JONDOM22’s Presets Here!


Jon Dom ( @jondom22 ) got right to work with his C4 Synth – his “Rocko’s Modern Knife” and “Big Head Bit Crush” presets are just a taste of the awesome suite of presets created by JD! We’ve got all kinds of C4 elements at work here – we’re talking programmed sequencers, pure synth tones with pitch shifting, and even some simple envelope filter sounds to cop a classic Jerry Garcia guitar sound!

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Source Audio Introduces the C4 Synth, A Eurorack Modular Synth in a Pedal for Guitar and Bass.

Source Audio Introduces the C4 Synth, A Eurorack Modular Synth in a Pedal for Guitar and Bass.

Boston, MA – Source Audio, creators of the extremely popular Nemesis Delay and Ventris Dual Reverb, are releasing the C4 Synth, a four-voiced synthesizer pedal for guitar and bass. The C4 Synth unites all the sound creation tools of a classic Eurorack modular synthesizer and packages them in a compact and easy-to-use effects pedal. Out of the box, the C4 features six dynamic synth effects, with unprecedented tracking abilities, and lightning-fast response. For those looking beyond the six onboard effects, the Neuro Desktop Editor (a free download for Mac and Windows) and Neuro Mobile App (free for iPhone and Android) offer a diverse library of presets created by the the Source Audio team as well as the ever-growing C4 Neuro community.

“Synth pedals need lots of different sounds, because personal taste is everything in this space,” says Source Audio President Roger Smith. “Most synth pedals have a relatively narrow range of sounds – that is not enough. The C4 has over 120 presets today, and we estimate it will grow to 1000 a month from now. Our innovation with this pedal is not just flexible sound creation tools – more importantly, it is the simple means by which any user can browse and play the library of sounds, burn a handful of favorites directly to the pedal, and then bring them to their next gig in a small, simple to use package. No other synth pedal in history offers this.”

Burning presets to the C4 Synth is a straight-forward process. The C4 connects to the Neuro Editor via the pedal’s mini USB port or the Neuro Mobile App via the phone’s headphone jack and Input 2 on the pedal. Once connected, musicians can easily browse presets on the pedal for testing. Favorite presets can then be saved with a single click to one of C4’s six toggle switch positions or 128 MIDI accessible positions. It’s a fun process that allows users to create the perfect synth pedal for their needs.

-C4 Synth logo designed by Jamie Bulmer

On the surface, the C4 features a simple 4-knob control panel (two of the knobs are dual-function) that includes Input Level, Envelope Sensitivity, Wet/Dry Mix, Master Output Level, and two knobs labeled “Control 1” and “Control 2” that adjust different parameters depending on the preset. The C4 comes pre-loaded with six dynamic synth presets that range from vintage analog to the thoroughly modern. The pedal also includes powerful 56-bit signal processing, a compact anodized aluminum housing, stereo inputs and outputs, and a mini USB port that receives MIDI messages from DAW (digital audio workstation) software as well as external MIDI controllers with USB host support. The C4 can also receive MIDI CC messages when connected to the Neuro Hub (also sold by Source Audio).

For those who wish to explore the deep editing abilities of the C4, the Neuro Desktop Editor and Neuro Mobile App offer a comprehensive set of modular synth inspired sound sculpting tools. The Sound Editor includes four assignable voices, three oscillator wave shapes (sine, square, saw), ten-plus envelope followers, twenty-plus modulating filters, distortion, tremolo, pitch shifting, intelligent harmonization, FM synthesis, two programmable sequencers and more. After dialing in a sound users can either burn the preset directly to any of the pedal’s 6 toggle switch positions (and 128 MIDI accessible positions) or publish the preset for other C4 owners to try.

While still developing the C4, Source Audio tried something unique by releasing fifty limited-edition, hand-painted C4 Synths to the public. With nearly no promotion the fifty units sold out in minutes. “We wanted to get the C4 in the hands of some highly motivated users,” said Smith. “We knew this especially engaged group would give us some excellent feedback and create a swath of awesome presets for the official release.” The result is a large and growing collection of thoroughly compelling user presets.

Reaction to the C4 from this core group of limited-edition owners was outstanding. Simon Francis (bassist for Ellie Goulding & Kylie Minogue) said, “The C4 brings a depth of sound and a responsive feel/tracking that I have not encountered before. Its compact form factor coupled with an editor that deftly balances simplicity with deep sound design possibilities makes this a game changer.” Jason Richards (session guitarist and Ableton programmer) said, “The C4 is everything I didn’t know I needed in a synth pedal. Finding the perfect synth engine has a been a long search for me, and the intuitive hardware layout with software integration makes this pedal far beyond anything else in that family of gear.”

The Official Source Audio C4 Synth Demo Video:

Nathan Navarro Demos the C4 Synth on Bass:

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‘Now It Sounds Like A Record’: Sockit Studio’s API 1608-II

‘Now It Sounds Like A Record’: Sockit Studio’s API 1608-II

JULY 2019; JESSUP, MD: Although founded in 1999, Sockit Studio in Baton Rouge, LA was flooded with over three feet of water in August of 2016. Most of the equipment was saved, but it was during the rebuilding process that Owner and Head Engineer Devon Kirkpatrick took the opportunity to reimagine the studio’s look, feel, and work flow. He decided he wanted the best both worlds with an analog and digital console and began looking at API’s 1608 console.

“I’ve been researching analog consoles for years and looking at vintage as well as new from all the major manufactures,” said Kirkpatrick. “I needed a console with a solid analog front end as well as expanded analog summing and mixing features. A lot of our clients have digitized tracks and analog summing would allow them another choice of production styles. The API 1608-II was the only logical choice.”

Kirkpatrick added, “Expandable, 100% analog, fantastic pre amps, and top-of-the-line summing and mixing options were all things that were missing before we got our 1608-II. The console is definitely designed for a high end hybrid work flow and has excellent signal flow options. The sound, in a word, is fantastic. Every client has heard a difference between just playing a two track song through the API vs. the digital console. The head room is enormous and the transient response is phenomenal. The analog saturation value when mixing through the 1608-II is a full factor level of wow; now it sounds like a record.”

ABOUT API (AUTOMATED PROCESSES INC.)

Established 50 years ago, Automated Processes Inc. is the world leader in analog recording gear, and features the Vision, Legacy AXS, 2448, 1608-II, and THE BOX recording consoles, as well as its legendary line of analog signal processing equipment.

www.APIaudio.com

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Manley Labs – Massive Passive & Vari-Mu

Manley Labs – Massive Passive & Vari-Mu

From Aphex Twin remixes to Korg patches to Nike commercials, the work of Atlanta-based electronic musician / producer / sound designer Richard Devine is everywhere – and the Manley Massive Passive and Stereo Variable Mu are now part of his creative process.

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Dangerfox Genesis Series Workstations Now at Awave

Dangerfox Genesis Series Workstations Now at Awave

Designed To Inspire

DangerFox exists to bring you a high quality workstation that inspires and endures those long work hours, and invites the wild beauty of nature into your environment. Our workstations are designed to stay out of the way while inspiring your creativity, making your studio space come alive with it’s detailed design and functionality features. We are confident that this will be the last workstation you’ll ever need.

Available in a 16U and 24U configuration.

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Neve AMS at Awave

Neve AMS at Awave

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.

A sound investment indeed.

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CENTER POINT STEREO: Spacestation XL

CENTER POINT STEREO: Spacestation XL

‘Stereo Everywhere’ from a single cabinet…but louder!

From the first listen, musicians and audiences alike knew that the patented technology behind the CPS Spacestation v.3 amp was the future for live performance.

Thousands of 5-star reviews and millions of Internet views later confirmed it: CPS is the audio equivalent of the introduction of a color TV to an audio world still stuck in ‘mono-tone’ black and white! Our new CPS Spacestation XL delivers what our CPS family had been asking for since the release of the SS3: More!


The SXL is twice the size, power and channels, taking the CPS 3D stereo magic to the next SPLevel; the big stage! Over 700 watts of Class D watts in a Bi-Amped Front Speaker System comprised of a custom USA made Eminence 12″ coax woofer, paired with a Titanium 1″ mid driver, balanced with a Side Speaker System of two Eminence 6.5” side speakers in a new patented technology we call ‘DTA’: “Digital Transducer Alignment,” that further expands the CPS 3D stereo effect.

The SXL offers two independent stereo TRS balanced channels with dual sensitivity for -10dB instruments or +4dB line level signals. Even the architecture of the SXL’s front panel inputs is revolutionary with our patented ‘offset inputs’ that both protect and redirect the cables to the side and away from the speaker.

Rear panel stereo outputs allow for (mixed) pass-thru signals @ +4dB via 1/4″ TRS or XLR outputs for Left, Right and L+R that can be used for FOH send, an additional amp or a powered Sub. The SXL produces 116+dB SPL of crystal clear and dynamically rich CPS 3D ‘beyond stereo’ sound, which must be heard to be believed!

Aspen Pittman’s designs have been coveted by legendary musicians and record producers for over 40 years. Aspen’s best selling Tube Amp Book has sold over 140,000 copies. He has designed dozens of award-winning tube guitar amps, stage, and studio microphones, and built over a dozen unique electron vacuum tube designs from scratch.

Aspen’s patented inventions, such as the Speaker Emulator, changed the way we record guitar, and his Center Point Stereo technology will forever change the way we produce live music. Aspen’s audio designs have earned multiple utility patents both in the USA and around the world, and have garnered top awards in multiple fields including the prestigious TEC award for best microphone design. So it seemed fitting to brand his new company simply, AspenPittmann Designs.

Center Point Stereo – Stereo Everywhere!

The Spacestation v.3 and new Spacestation XL

Aspen’s CPS stereo powered monitors are the only effective stereo speaker technology capable of creating a 3D ‘beyond stereo’ image throughout the venue (300° dispersion!) and all from a single speaker. CPS must be heard to be believed! The perfect partner for all stereo keyboards, stereo guitar processors, and for stereo-based vocals. Add a mixer, and CPS monitors can support the whole band, serving as both mains and monitor system. The band and audience hear exactly the same mix in big 3D stereo… no matter where they are!

Choose the groundbreaking SS3 compact 32lb marvel that delivers 106+dB SPL for small to medium venues, and has set the audio world on its ear since it’s introduction. Or if you need ‘more’, the new SXL at twice the size and power with a frequency response from 50Hz to 20KHz (no Sub required) for those larger and louder venues. The SXL also has two independent channels so players using two keyboards won’t need a mixer.

Specifications:

  • STEREO SOUNDFIELD: 300 DEGREES
  • LOUDNESS: +116DB SPL @.01% THD
  • STEREO INPUTS (X2): BALANCED 1/4” TRS
  • BALANCED OUTS: 1/4” TRS OR XLR
  • LEFT, RIGHT AND L+R @ +4DB
  • DIMENSIONS: 29″X17″X16″ @ 65 LBS. (29 KGS)

Features:

  • PATENTED CENTER POINT STEREO – 3D STEREO EVERYWHERE!
  • PATENTED “DTA” DIGITAL TRANSDUCER ALIGNMENT
  • 50HZ TO 20KHZ RESPONSE, NO SUB REQUIRED!
  • TWO BALANCED STEREO CHANNELS WITH SEPARATE CONTROLS
  • DUAL INPUT SENSITIVITY; HI (-10DB) OR LO (+4DB)
  • +4DB STEREO BALANCED OUTS; LEFT, RIGHT AND L + R
  • PATENTED “OFFSET INPUTS” PROTECT AND REDIRECT CABLES
  • EMINENCE USA CUSTOM 12″ COAX W/ TITANIUM TWEETER
  • STRONG AND LIGHT ALL PLYWOOD CONSTRUCTION
  • DUAL FORMAT DESIGN; CARRY OR USE VERTICALLY OR HORIZONTALLY

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SOURCE AUDIO WHAT ARE THEY BUILDING IN THERE?

SOURCE AUDIO WHAT ARE THEY BUILDING IN THERE?

Our engineering team, are back in the sound laboratory developing the next Source Audio effects pedal. This new endevour may be our most ambitious yet – it is a small footprint guitar/bass synthesizer pedal knows as the C4 Synth. Please feel free to check in on this page anytime for the most recent updates in the development process. And of course, we want to hear your thoughts and suggestions – head over to The Gear Page and join a public conversation on the C4.

The C4 Synth from Source Audio

The first thing we need to do is explain the big idea behind our latest project. Bob Chidlaw (Source Audio’s Chief Sound Engineer), feeling inspired by his personal Eurorack modular synth rig, set out to built a powerful synthesizer machine, specifically designed to live inside the compact structure of a Source Audio One Series housing.  The C4 is, for all intents and purposes, a modular synthesizer in an box.

On the surface, the C4 features a simple 4-knob interface and a choice of three guitar/bass synthesizer effects – just plug-in and submerge your instrument in a sea of swelling, buzzing, and swirling synth tones. If you want to take things to take things a bit further, we urge that you connect the C4 to our Neuro Desktop Editor (a free download for Mac and Windows) or Neuro Mobile App (a free download for iOS and Android).  Inside the Neuro Editors you will find the tools to personally create your own retro-futuristic synthesizer tones. Use the C4’s collection of four parallel voices, three oscillator wave shapes, ten-plus envelope followers, twenty-plus modulating filters, distortion, tremolo, pitch shifting, intelligent harmonization, programmable sequencing and more to dial in that perfect tone. Find it all, from the classic synth tones you’ve always wanted to replicate to those illusive abstracts you’ve imagined, but never actually heard. If you’re short on time and/or patience, it’s very easy to find tons of great sounds – simply  call up an effect from countless presets created by the Source Audio team or the growing legion of C4 users.

We at Source Audio are out of our minds with anticipation for the release of the C4 Synth – we cannot wait to hear the sounds y’all come up with for our exciting new pedal.

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Sound Samples

You probably want to hear how the C4 sounds, correct? Well since the pedal is still a work-in-progress, we have not yet created a formal demonstration video, but we have been posting a bunch killer sounds that we’ve come up with along the way. Some of our favorites we included in the C4 Synth Preview video, which is a compilation of Instagram posts between the months of 1/19 and 6/19. Please feel free to check our Instagram for additional C4 clips and other Source Audio related fun. C’mon and join our social scene – NO TROLLS!

The C4 Synth’s Control Panel in the Neuro Desktop Editor 

The true power of the C4 Synth resides in its Neuro Desktop or Mobile Editing interface. Source Audio President Roger Smith said in a recent interview, ” When we create our own library of sounds, we put them out, and they have a certain level of popularity. But it has been far more interesting to tap into the world of hobbyists interested in creating their own sounds with our Neuro Desktop Editor. They create presets and publish them into a communal sharing space where others can use and further edit them. Creating this kind of collaborative world is ultimately the kind of direction we’re heading.”

With the Neuro Editor it will be possible to create highly customized presets for your C4 Synth. Presets can then be published and made available to the entire Neuro community. The illustration below shows the current state of the C4’s Neuro Desktop Editor. You will see that it is possible to edit each to the C4’a four voices, including things like Oscillator Wave Shapes, Envelope Types, Filters, Distortion, FM Synthesis, Pitch Shifting, Harmonization, Sequencing, and much more. We cannot wait to hear the sounds created by the ever-growing base of Source Audio pedal owners.

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The C4 Block Diagram

The block diagram below illustrates the current architecture of the C4 Synth and Spectrum Intelligent Filter. It provides a look at the internal signal path of both pedals.

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VOICE BLOCKS
There are four Voice Blocks.  Within each Voice Block select from any of the following Voice Types: Dry Signal, Monophonic Pitch Shifting, Polyphonic Pitch Shifting, and three types of Synth Oscillator Wave Shapes (including Sine, Square, and Saw). In these blocks you will also be able to select voice level, stereo panning, distortion/fuzz engage, filter engage, pitch modulation, and detuning amount.
DISTORTION BLOCK
Choose a type of distortion from a long list of Source Audio favorites, including Soft Clipping, Foldback, and Gated Fuzz. Dial in the Drive amount and Clean/Dirty Mix.
FILTERS BLOCK
Choose from over 20 different filter types.  Decide whether you want to control the filter modulation with an envelope follower or LFO and set the LFO Speed. Dedicated controls allow you to set the Envelope Sensitivity, Filter Modulation Depth, Frequency Starting Point, and Q Level (a.k.a. “Resonance’).
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The Dual Layer Control Module – Audient ASP8024 Heritage Edition Console

The Dual Layer Control Module – Audient ASP8024 Heritage Edition Console

Take a look at the features and use examples of the Dual Layer Control Module, an optional extra on the Audient ASP8024 Heritage Edition large format recording console, including 8 channels of analogue VCA automation and comprehensive DAW control.

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MANLEY LABS – ON TOUR WITH FOH ENGINEER SUNNY SANOUR

MANLEY LABS – ON TOUR WITH FOH ENGINEER SUNNY SANOUR

FOH Engineer Sunny Sanour recently stopped by the Manley factory while on tour with Indian artist Arijit Singh, and was kind enough to speak with us and show us all the Manley gear he takes out on the road!

I have been using Manley Reference Microphones with the Manley VOXBOX® since 2010. I have been using Manley Reference Microphones with the Manley VOXBOX® since 2010.When we started touring in 2013, I wasn’t very happy with the overall sound. We were a really small band back then and couldn’t really get any outboard gear. The Manley family kept increasing in the studio, and then in 2016, I decided to go with an outboard setup.

The first choice was to get a Manley FORCE® for my main channels. Having used the FORCE in the studio before, I had no doubts about getting it for the live scenario. So I got two of them. One of them acts as the Pre for Kick In, Snare 1 Top and my Overheads. The second one handles Arijit’s acoustic guitar and the vocal channels – I have a three mic setup for Arijit. One headset, one wireless handheld and  another wired handheld when he is playing the upright piano. Many people wonder why we have three mics but in reality its 3 different zone for 3 different tonalities, and the Manley FORCE just gives that studio ‘vibe’ to all these mics.

People also wonder how I get the glue on the mix – well, the Manley Variable Mu® is the ‘secret’ there. I don’t think I could live without these on my live rig 🙂 It’s all just too special!