This video demonstrates the effects of using compression in a mix.

Discussing compression is opening a can of worms. Robert Henke (Monolake) avoided compression on his latest release, commenting:

Radio, and more recently mp3 players and laptop speakers influenced the way popular music is composed, produced and mastered: Every single event has to be at maximum level all the time. This works best with music that is sonically simple, and music in which only a few elements are interacting. A symphony does not sound convincing thru a mobile phone speaker, and a maximized symphony does not sound convincing at all.

My take on compression is that extreme compression would ideally be left to playback devices, unless it’s being used as a creative tool. If you’re listening to that classical symphony or Monolake release in your car, you could push the “compression” button and hear the quiet bits, without the need for for the track to be squashed.

via muzicali:

Wondering how much compression you should use in the mix? Maybe you’re skeptical that compression really makes a difference? Its a difficult effect to get a handle on and to really use effectively. It starts by being able to hear the difference between a mix that has compression and one that does not. To this end, Ive cooked up a phat drum beat and given it a mix with lots of compression. In this video, I switch all of the compressors on and off while the beat is playing, so you can hear the difference. And, at the same time I flip through the compressors on each channel so you can peep my settings. Enjoy!

Mark of the Unicorn (MOTU) has announced the 10 input/14 output Ultralite-mk3, an audio interface that they say is the first ever “hybrid” audio interface, offering FireWire and USB 2 connectivity to Mac and PC computers.

They haven’t put up official availability or pricing info yet. If you know anything on this, leave a comment.

Details on the Ultralite-mk3 below.

Feature summary

• Hybrid FireWire/USB2 connectivity — connect to your computer via either bus-powered FireWire or hi-speed USB2.
• CueMix FX™ — flexible 10 input/14 bus mixer with on-board DSP effects, including reverb with sends/returns, plus EQ and compression on every input and output.
• 10 inputs / 14 outputs — there’s no channel sharing in the UltraLite-mk3 Hybrid; the mic inputs, S/PDIF I/O, headphone out and main outs are all handled as separate channels.
• Classic Reverb™ — provides five different room types, three frequency shelves with adjustable crossover points, shelf filtering and reverb lengths up to 60 seconds.
• Two forms of compression — a standard compressor with conventional threshold/ratio/attack/release/gain controls and the Leveler™, an accurate model of the legendary LA-2A optical compressor, which provides vintage, musical automatic gain control.
• Modeled EQ — provides 7-band parametric EQ modeled after British analog console EQs, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36 dB.
• CueMix FX cross-platform mixing software — attractive graphic mixing, graphic editing of parametric EQ and a convenient tabbed interface for quick access to all features in one window. Also provides full-screen real-time FFT display, spectrogram “waterfall” display, oscilloscope, X-Y plot and linear or polar phase analysis.
• Front-panel control — access any setting in your entire UltraLite-mk3 Hybrid mix directly from the front panel.
• “Reverb return” stream — allows users to record or mix UltraLite-mk3 Hybrid reverb output separately in their DAW. Effects can also be applied when the UltraLite-mk3 Hybrid is operating stand-alone (without a computer) as a complete stand-alone mixer.
• Stand-alone operation — program your mixes at the studio and then bring the UltraLite-mk3 Hybrid to your gig — no computer needed. Just plug in the included power adapter and you are ready to go. Need to tweak the mix? Do it on site using the back-lit LCD and front-panel controls.
• Multiple CueMix FX mixes — for example, create different monitor mixes for the main outs and headphones. Or add send/return loops for outboard gear — with no latency.
• Two combo jacks provide hi-Z 1/4” guitar input or low-Z XLR mic input with phantom power, pad and plenty of gain.
• Eight 24-bit 192kHz analog inputs and outputs on balanced/unbalanced 1/4″ TRS jacks
• Precision Digital Trim™ — Digitally controlled analog trim on all analog inputs (mic/guitar inputs + quarter-inch TRS inputs) provides accurate adjustements in 1 dB increments. Fine-tune the balance of your analog inputs and then save/recall trim configurations.
• Direct Digital Synthesis™ (DDS) — a DSP-driven phase lock engine and internal clock source that produces imperceptibly low jitter characteristics (below the noise floor), even when the UltraLite-mk3 Hybrid is resolved to an external clock source via SMPTE time code.
• Time code support — directly resolves to (or generates) time code via any quarter-inch input or output, without the need for an extra synchronizer.
• Sample-accurate MIDI — connect a MIDI controller and/or sound module with no separate interface needed. MIDI I/O is sample-accurate with supporting software.
• Expandable — add additional interfaces for more I/O as your needs grow.
• Separate TRS main outs with front panel volume control.
• Stereo 24-bit 96kHz S/PDIF in/out.
• Includes drivers for Mac & PC, including ASIO, WDM, Wave, Core Audio, and Core MIDI. Supports all popular Mac and Windows audio software.
• 100% compatible with all host-based effects processing in today’s popular audio programs.
• Includes AudioDesk full-featured sample-accurate workstation software for the Mac with recording, editing, mixing, real-time 32-bit effects processing & sample-accurate sync.
• Plug-and-play operation with your Mac or PC via FireWire or USB2.
• Front panel volume control for monitoring. Stereo, Quad, 6.1, 7.1 and user-defined surround monitoring setups available.
• Front panel headphone jack with volume control.
• Bus-powered FireWire operation. No need for external power when operating as a FireWire interface connected to a computer. A power supply is included for stand-alone operation.

This video offers a nice before and after comparison of DIY acoustic treatment for your studio.

If you want to read specifics on the Pretension’s DIY acoustic treatment, check out this post at the Pretension Music site.

via PretensionMusic:

This video shows the difference that acoustic treatment can make to your studio. This is by no means a hi-tech acoustic test but it does show what a little DIY and some acoustic insulation can do to an ordinary room. Throw your headphones on and hear the difference for yourself and if you want to know more about the project, check out my blog.http://pretensionmusic.blogspot.com

via the Awesome-Amplifying Torley

Harrison, a manufacturer of analog and digital consoles, has announced Mixbus, a Digital Audio Workstation for Mac OS X.

Mixbus is a virtual “analog console” integrated into a full-featured Digital Audio Workstation (DAW). It retails for $79.99.

Details below.

If you’ve used Harrison Mixbus, leave a comment!

Features:

• Straightforward “knob per function” mixer layout based on Harrison’s renowned 32-series and MR-series music consoles.
• Precision DSP algorithms for EQ, Filter, Compression, Analog Tape Saturation, and Summing based on Harrison’s world-renowned large format analog and digital mixing consoles.
• Unlimited stereo or mono input channels (based on available CPU power) featuring High-pass Filter, EQ, Compression, and 4 Mix Bus sends on every channel.
• 4 Stereo Mix Buses (can be used for groups or auxes) featuring Tone controls, Compression, Sidechaining, and Analog Tape Saturation.
• Stereo Master Bus that features Tone controls, Analog Tape Saturation, K-meter, and Limiting to help you make polished mixes.
• Plugin delay compensation to support effects such as parallel compression.
• Comprehensive “at-a-glance” metering with peak, peak hold, and compressor gain reduction visible on every track and bus.
• Extensive DAW features via the Ardour Digital Audio Workstation.
• Supports AudioUnit plugins and any CoreAudio interface.

via BenLoftis

Line 6

Record ships with built-in virtual Line 6 POD and Bass POD devices. On their own, the virtual POD and Bass POD offer three guitar amp models, two bass amp models and five cabinet models, respectively.

The addition of a compatible Line 6 audio interface, though, “unlocks” that hardware’s entire collection of amps and cabs, as well any user-made presets, for use within Record.

Compatible Line 6 effect processors and audio interfaces include the POD X3 family of products, POD Studio and TonePort interfaces. (Record users with iLok USB Smart Key-compatible POD Farm and POD Farm Platinum plug-ins from Line 6 receive the same functionality.)

Detail are available at the Line 6 site.

This official demo video looks at Propellerhead Record for Reason owners.

via PropellerheadSW:

A look at what Record has to offer Reason owners besides audio recording, fantastic mixing, out-of-this-world time stretch and such. We’re taking a look at sequencer enhancements, rack improvements, multi-processing and much more.

In this official Cakewalk video, Robin Kelly gives a presentation on using Sonar 8 for creating a soundtrack to a video.

Propellerhead has released more video tutorials for Propellerhead Record0

Topics covered include:

• Record basics
• Record and Reason integration
• Guitar recording with Record
• Channel strip in Record
• Insert effects
• Audio clips
• MIDI clips
• Comp mode
• Setting up Propellerhead Record
• Reusing recordings
• Send effects.

Yudo has announced Rectools08 Lite (App Store link), an 8 channel multi track recorder for the iPhone / iPod Touch.

There’s one limitation to the “lite” version, though – you can’t save anything.

C’mon guys – you could limit it to two channels or something!

Anyway – if you’re interested in the idea of turning your iPhone into an 8-track audio recorder, you can try this out for free. Just don’t try to record your masterpiece on the “lite” version.

This video, via HomeStudioCorner, looks at processing bass by duplicating the track.

Joe Gilder of Home Studio Corner explains parallel processing and demonstrates how to use parallel processing with drums.

The Record Open Beta lets you try out a fully working version of Record, using Record’s internet authorization. Use the software without limitations as long as you are connected to the internet.

This trial period will last until Record’s official release on September 9, 2009.

A valid email address is required.

Details at the Record You site.

2009 Summer NAMM Show: This video, via soundonsoundvideo, captures an overview of the Sony PCM-M10 digital audio recorder.

“The PCM-M10 is ideal for budget-conscious professionals who still need high-quality sound capabilities,” said Sony’s Karl Kussmaul.

The PCM-M10 shares several features and design elements with the PCM-D1 and PCM-D50, including the same rugged construction and cool design. The new recorder is 96 kHz/24-bit capable with electret condenser stereo microphones, 4 GB of internal flash memory and a microSD/Memory Stick Micro (M2) Slot.

Key features of the PCM-M10 recorder include

• a built-in speaker
• cross-memory recording
• digital pitch control
• digital limiter
• low-cut filter
• track mark functions
• a 5-second pre-recording buffer and
• A-B repeat capability.

The PCM-M10 comes supplied with Sound Forge Audio Studio Recorder Edition software.

The PCM-M10 includes a USB high-speed port for simple uploading and downloading of native .WAV or .MP3 format recorded files to and from Windows PC or Macintosh computers. The M10 offers durable metal construction and long battery life using conventional AA alkaline batteries.

The PCM-M10 portable recorder is planned to be available in October, at a
suggested list price of $399.

Record and the future of Reason

By request, it seems we need to clarify our product road map and how Record and Reason relate.

Hopefully by now it is clear that Record is a stand-alone program. We simply call it Music Recording Software, because that’s what it is. Record is the perfect choice for anyone who wants to make music recordings, whether you’re a band, a songwriter, a guitarist, vocalist or all of that on different days of the week.

Record is also, thanks to its incredible built in mixer and effects, a great choice for mixing and finalizing any music production.

Reason also is – and remains – a stand-alone program. Reason we call a Music Production Instrument. It contains the ultimate software instrument set, combined with tons of great effects. Reason is the perfect choice for anyone who plays keyboards, in the bedroom, studio or on stage. It’s also great for all of us who love making music with drum machines, synths, samplers and effects.

Thanks to its powerful yet simple sequencer, Reason is also a great production tool. But in a slightly different way from Record, and that’s precisely the point.

For Record – think guitars, vocals, recording, music production and mixing.
For Reason – think keyboards, synths, samplers drum machines, effects – and music production.

What the two programs have in common is their purpose: To help you make more and better music, to sound fabulous and having a great time while doing it.

Some people will want to use Record only. Some people will want to use Reason only. It just depends on what kind of musician you are.

Those who are really smart will use both programs together; it’s the ultimate combination. The integration is 100%, making you far more productive than any recording application and plug-in combination available out there. Yeah, yeah, we’ve said that before, but we’re so excited about it, sorry.

The Future of Reason

But back to Reason and it’s future.

There are so many ways to use Reason. Stand-alone, as a production tool. As the best keyboard workstation you can find. As the ultimate instrument rack for your DAW. As an ideation tool. As a beat production station. The list is endless.

Even though Propellerhead have now introduced Record, we’re totally committed to Reason as a product in itself. Propellerhead will continue to develop Reason. Just like we always have. In fact we have a dedicated team working on an update of Reason right now. We always do.

And the same is true for ReWire, we will support it tomorrow just as we do today. Adding Reason to your DAW will continue to be the most powerful vitamin injection you can give it.

Which Should I Buy?

Yeah that is the question, isn’t it? What to buy? Reason? Record? Both? The good news is you don’t have to think too much about it. If you buy Reason now, you can add Record later, no problem. Even regardless of which version of Reason you have.

Or vice versa, if you buy Record, you can add Reason when you feel the time is right. We’ve made it simple and we’ve set the prices to make it a no-brainer to start anywhere and go from there.

Also, a lot of the concepts in the programs are the same, so if you start with Reason now, you will have learned a lot of techniques that you can use in Record later.

There will also be special offers for those who get Reason now and want to buy Record when it ships on 09/09/09. Exactly what those offers are depend on which market you are in, so please check with your local distributor.

So, don’t wait. You can’t lose.

Ernst Nathorst-Böös

Clear As Mud?

It seems that Propellerhead has a marketing disconnect with some musicians about their current product lineup. A lot of people have a better understanding of what Record isn’t (a DAW) than what it is.

Beyond that, though, they face the issue that what a lot of people is an update to Propellerhead Reason that adds recording features, instead of a new product to buy and learn how to use.

We’ve published extensive coverage of Propellerhead Record – but it looks like Propellerhead needs to do more to educate users about what Record is and what it can do.

The Soundcraft Guide to Mixing, embedded above, is an 18-video series on mixing live sound for music performances, aimed at beginners in the art.

The information isn’t specific to electronic music, but there’s a ton of info here.

Samson representatives are promoting the Zoom R16 as “three production tools in one device“:

• a multi-track recorder
• an audio interface and
• a control surface.

The R16 runs on six AA batteries. Recording onto SD memory allows for up to 32 GBs of audio files, and lightens the weight of the recorder. The R16 connects to the user’s computer via USB, and comes bundled with Cubase LE audio software.

The Zoom R16 retails for $399, making it a cheap all-in-one multitrack recording solution, especially for location work.

Product features include:

• Digital recorder with 16-track playback and 8-track simultaneous recording  utilizing SD memory
• 16/24-bit/44.1kHz linear PCM recording in WAV format
• Built-in stereo condenser microphones
• Included 1GB SD card and with support for up to 32GB SDHC
• Allows simultaneous recording on up to 8 tracks
• Battery operation for remote recording
• USB power for audio interface and control surface operation
• 8 mic inputs / 2 outputs (8 x 2)
• 8 combination XLR-1/4-inch inputs
• High-definition 24-bit/96kHz recording capability using digital audio software
• 100+ built-in studio effects coming from advanced DSP which can additionally be used as outboard effects
• Hi-Z input for direct connection of guitar or bass
• Included preamp with phantom power on two channels
• Mackie control emulation via USB for popular DAW software including Cubase, Logic, Digital Performer and more
• Amazing guitar amp and effects models
• Professional quality mastering effects including multi-band compressor, normalizer and more
• Operates as USB storage device for quick data transfer
• Connect two R16s via USB for synchronized operation and 16 tracks of simultaneous recording
• Undo/Redo functions
• Comes with Steinberg Cubase LE 4
• Supports Windows XP/Vista, Mac operating systems

Finally, the R16 can be connected with a second R16 unit via USB; one can be designated to function as the USB master and the other as the USB slave, allowing synchronized transport operation and recording on 16 tracks simultaneously.

The Zoom R16 will be available in stores “in the next few weeks,” according to a company representative, and will retail for $399.

via Podcasting News

Yudo has introduced Rectools08pro Multi Track Recorder (App Store link), a $20 app that turns your iPhone into an 8-channel audio recorder.

This is pretty amazing, when you consider that The Beatles recorded Sgt. Pepper’s with 4-track recorders! Of course, the iPhone imposes limitations on getting audio in and out; as far as I know, you can only record two channels at a time to the iPhone.

According to Yudo, “We are from now on also planning to make it network compatible, add synthesizers, a drum machine, effects and much more in the near future.”

If you’ve used Rectools08pro, leave a comment with your thoughts!

Description:

Rectools08pro is the first 8 channel multi track recorder for the iPhone / iPod Touch. It is comptabile with all external iPhone / iPod Touch microphones and records in 44.1kHz / 16bit top quality.

Thanks to the wave edit feature, it is also possible to edit and process your recorded data afterwards.

Features:

• 8 channel multi track recording (note that mono track takes up 1 channel and a stereo track takes up 2 channels)
• Wave edit function Edit & process your recorded data.
• Equalizer Comes with a 3 band equalizer one for each channel.
• Frequency range of 20hz ~ 20kHz and gain ±12dB.
• Mixer; Like a real mixing console volume fader, panning pot and equalizer, mute, solo is supported for all channels also input and output channels can have their volume and panning position adjusted (note that the input channel volume is done in software)
• Audio Pool: Lets you access all the recorded data in your project, delete and upload to your computer in the local network is also possible.
• Metronome: Helps you to keep the beat when recording.
• PC-SYNC: Send your recordings to a computer n the same local network as your iPhone / iPod Touch via WI-FI.
• Compatible with 3rd party microphone: Tested and works with various 3rd party microphones.

Specs:

• Recording format: Linear PCM (WAV) 44.1kHz / 16bit in stereo or mono.
• Recording length: max 7 min
• Compatibility: Tested and works with: iPodTouch(2nd) + Apple’s In-Ear headphones with remote and mic / The iPhone microphone / Alesis’s ProTrack / Logitec’s LIC-iREC01 / Tunewear’s CAPSULE Mic / Stereo Sound Recorder for iPod.

This official Propellerhead video looks at using Propellerhead Record and Reason together.

via PropellerheadSW