AKG has released a new flagship in its closed-back K872 reference headphones for critical recording, mixing, mastering and live sound engineering applications.

The design features custom components, including a 53mm transducer – the largest AKG has yet built. This was developed from the company’s K812 transducer, and ensures highest in-class headroom and dynamic range. The design also uses a high-sensitivity copper-covered aluminium voice coil that extends sound beyond the limits of the human auditory system, from 5Hz to 54kHz, while delivering the lowest distortion level in class.

With newly designed closed-back ear cups, K872 headphones provide optimal isolation from external sound during critical monitoring applications. To provide personalised fit and comfort, the K872 features 3D-shaped slow-retention ear pads and a new quick-lock mechanism that maintains the right size for the wearer’s head shape. K872 headphones also feature all-metal cardan-type hinges to ensure maximum durability and a tight ear pad seal.

The K872 is intended for music production professionals seeking an accurate, transportable, highly detailed reference for critical monitoring in a range of recording, mixing and production applications. Live sound engineers are served by the high degree of isolation, detail and comfort that the K872 provides. Studio mixing and mastering engineers will benefit from the reference-quality audio K872 delivers in both studio and mobile production workflows. The headphones include a case that functions as both a headphone stand and a low-profile carrying bag that conveniently fits in a suitcase.

AKG Professional is distributed in the UK and ROI by Sound Technology Ltd. The AKG K872 closed-back reference headphones are available now priced at £1,329 RRP inc VAT.

‘No matter what your experience, there is always something new to learn, especially from the likes of top music producers Cenzo Townshend and Ulrich Wild, or pro musicians Ash Soan and Cody Stewart,’ says Audient Marketing Manager, Andy Allen, at the launch of the company’s online Tutorial Hub.

Complementing the recent unveiling of ARC Creative Hub – which gives new and existing customers access to a range of free software – the Tutorial Hub gathers together videos, professional tutorials and user tips onto one platform to create a learning centre for all visitors to the website. This covers general advice on recording, mixing, mastering and technology in different music genres, and tips for users of specific Audient products.

‘Anyone can benefit,  even if you aren’t – yet – an Audient customer, Allen says. ‘If you’re looking to brush up your mixing skills, get to know what your iD4 can do, learn more about tracking guitars or simply want an insight into other professionals’ recording processes, it’s all there, completely free on the Tutorial Hub. With regular updates planned and a handy search facility to browse by category and/or product, we suggest you grab a cup of tea, head over to the Audient website and have a look around.’

More: www.audient.com/tutorials

Audio effects developer Audified has released the MixChecker ‘mixing assistant’ plug-in, allowing DAWs to model different monitor loudspeaker types.

With music being listened to on a wider range of reproduction systems than ever before – desktop speakers, tablets and smartphones, joining TV and radio, and home and in-car music systems – there is an unprecedented need for mix checking.

MixChecker’s functions are presented in two sections. Simulation accesses acoustic models of consumer devices and classic reference monitors –selecting a device is achieved with a single button (clearly labelled with an instantly-recognisable icon), and cycling through the buttons a simple operation. Not all studio monitors deliver a flat frequency response, so the Compensation control section offers four more clearly-labelled buttons to tell MixChecker that you are using average 5-inch or 8-inch speakers or headphones, and presents the resulting sound change accordingly.

The Bypassbutton turns off all processing, passing the signal through MixChecker without being treated.

More: www.audified.com

Audio-Technica has released a limited edition of its M50x studio monitor headphone, the first special release of the M Series model.

Widely used by audio engineers, the M50x claims solid low-frequency definition, with its proprietary 45mm drivers ensuring clarity across an extended frequency range. Sound isolating earcups, folding design and robust construction make the M50x well suited to recording, tracking, mixing, DJ monitoring and personal listening.

Finished in bold red with gold accents, the M50xRD follows in the footsteps of previous well-received limited versions of the original M50. As with the standard M50x, the new model ships in a protective carrying case with a choice of three detachable cables – 1.2m and 3m straight and a 1.2m to 3m coiled – and gold-plated screw-on quarter-inch adaptor.

The Audio-Technica M50xRD is now available with a recommended RRP of £149/€169 inc VAT.

More: www.audio-technica.com

Avid has announced the S1 audio control surface for music mixing, audio post and video production, promising ‘unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a portable, slimline surface that’s an easy fit for any space or budget’.

The S1 surface brings extensive control and visual feedback to mixing and monitoring in stereo or surround for recording and editing tracks, accelerating the music workflow. Like the Avid S6 and Avid S4, Avid S1 is powered by EuCon to offer integration with Pro Tools and Media Composer, plus native support for third-party audio and video applications including Logic Pro, Cubase and Premiere Pro. Users can switch between multiple applications and workstations at the touch of a button.

Avid S1 integrates with the free Avid Control app for iOS and Android tablets and smartphones, providing visual feedback, ergonomic efficiency and Avid S6-style metering and processing views. The surface’s touch-sensitive motorised faders and knobs supports touchscreen workflows, with Soft Keys for completing complex tasks with a single touch. Users also can scale the surface to meet changing needs by connecting up to four units together – and add an Avid Dock – to create a single extended and integrated surface.

‘We designed the Avid S1 control surface with home or smaller studios and budgets in mind,’ says Director of Product Marketing, Audio & Video Solutions, Rob D’Amico. ‘We strive to give customers the integrated hardware and software workflows they need to create the best sounding mixes. The Avid S1 enables users to create complex mixes without having to compromise on quality and opens up a world of capabilities never before possible with a control surface at this price.’

The Avid S1 is priced at US$1,295 MSRP

More: www.avid.com

Avid has announced the Avid S4 and Avid S1 control surfaces for use in smaller facilities and project studios.

Avid S4 brings the power and workflows of Avid’s Pro Tools S6 control surface to budget-conscious audio professionals and small- to mid-size music and audio post facilities in an ergonomic and more compact package. It offers the software integration of Avid’s high-end consoles in a portable, slimline surface.

‘The Avid S4 and S1 control surfaces open up a world of capabilities never before possible for music mixers, smaller studios and educational facilities, answering our customers’ calls for the power, workflows and key functions of Pro Tools S6 in more streamlined and affordable in-studio solutions,’ says Director of Audio and Video Segment, Rob D’Amico. ‘Avid control surface, software, audio I/O, and monitoring capabilities combine to create a professional system with control and flexibility at the user’s fingertips.’

Designed for small- to mid-sized music studios and audio post facilities, Avid S4 delivers S6 workflows, providing an integrated use of any EuCon-enabled DAW, such as Pro Tools, Nuendo, Pyramix, Logic Pro and Cubase. S4 also enables engineers to quickly assign and control talkback, listenback, and speaker sources and levels right from the surface to handle everything from simple cue mixes for music recording to monitoring immersive audio projects.

S4 provides extensive visual feedback, with the ability to display everything from channel meters, groups, EQ curves, and automation data, to scrolling high-res Pro Tools waveforms, which can be edited from the surface. The semi-modular surface gives the flexibility to build a system for specific workflows, from eight to 24 faders, with the ability to add displays, joystick, post, and knob modules. When paired with Pro Tools Ultimate, S4 provides efficient hands-on Dolby Atmos mixing.

From recording and editing tracks, to mixing and monitoring in stereo or surround, S1 provides control and visual feedback necessary for any music workflow. Like the S6 and S4, the S1 is powered by EuCon to offer deep integration with Pro Tools and Media Composer, plus native support for third-party applications such as Logic Pro, Cubase and Premiere Pro.

With S1, users can easily scale a surface to suit changing needs, connecting up to four units together and adding Pro Tools Dock to create a single extended and integrated surface to suit any music, audio post or video project.

More: www.avid.com

Writer, producer and mixer Dan Gautreau divides his time between the UK and LA, often working on high-end production music projects as well as various sync and artist projects. Covering the UK side of his work, he has installed a Solid State Logic AWS 948 δelta hybrid analogue console in private facility, First Cut Music.

Located in rural Leicestershire, the studio now enables him analogue sound for tracking and mixing with DAW control and DAW-based automation.

While his work now covers TV, film and radio, pop is where Gautreau began, as an assistant engineer at London’s legendary Sarm West Studios, training with Trevor Horn. While at Sarm, he worked on sessions for George Michael, Alicia Keys, and Seal, among others, and got his first exposure to SSL consoles in the form of Sarm’s SSL J and G Series consoles. In 2004 he expanded his engineering role to programming, and began to develop his love for production and writing.

His work in the US includes Hollywood productions like Vince Vaughan’s Delivery Man and on a list of TV regulars while in the UK, he has contributed music to The Inbetweeners Movie and TV’s Top Gear and Made In Chelsea.

Building First Cut Music, he turned to SSL and an AWS 948: ‘In most of my projects, a client won’t care about time and costs within a studio, they simply judge the end product,’ he says. ‘The level of production music in TV and film now is so high, you’re essentially delivering commercial records – if you want to be pitching at that level you need to have the industry standard tools.

‘The choice of SSL was absolutely a no-brainer for me. When you get that extra few percent in detail, it makes the difference between getting the commission and not. When it comes to the artists and writers who are coming through here they are the ones who get excited about the console. They’re coming in and hearing better and punchier recordings, and experiencing a faster tracking and mixing workflow. That’s where it counts, I think.’

One of the key drivers behind the purchase of the AWS 948 was the desire to take the mix out of the box: ‘We all know that a majority of people have moved to working in-the-box and the standard is incredibly high, but I feel that some mixes get choked in the box and really benefit from being spread over an analogue board. That’s when you get the pay-offs of the headroom and great buss processing – of analogue mixing on top of all these extra workflow bonuses. At the end of the day there’s something magical about mixing on the board, the sum of all these elements, the absolute control, along with not having to stare at a computer screen 100 per cent of the time.

‘I didn’t want an extension of a mouse, it had to be an analogue path,’ he continues. ‘And for me trust is important – trust in a brand like SSL; one that’s been part of my working life since the beginning, really. When I spread the track across the board and I start working on the detail of, say, a vocal, I often find it will just sound a little better simply passing through the channel and EQ of the SSL, and I’m doing less de-essing and less surgical work because of it.’

Gautreau’s mixing workflow is to bring everything on to the board: ‘I focus on the main meat of the track. I’ll always spread the drums and vocals out as far as possible. Then I’ll stem out bass, guitars, lead guitars, synths, pads and effects. We all know that vocals and drums make or break a song these days and I want as much control of those key elements as possible.’

For drum kit recording, Gautreau is a fan of ribbon mics: ‘It’s like cheating really, using the ribbons – they capture the natural tone of an instrument and room really nicely, and the live room here has a lovely sound. I use the SSL preamps a lot when tracking. They have great headroom so they handle ribbon mics with ease. I do have a few other preamps available at the studio for specific colours.’

For mixing, Gautreau has found SSL’s δelta -Control technology to be a creative boon as well as a practical one. It allows the console’s analogue fader automation to be stored, read, and edited in DAW plug-in automation lanes. ‘I find that at critical stages it is amazing,’ he explains. ‘I’m doing rides and pushes that I would never have done in the box. I’ll listen to the results and find there’s a lot more dynamics and a lot more punch. Without the limitations of being tied to the screen – you have the freedom to commit to what you hear. It’s one of those things that make the board a musical instrument in the studio. And then you get the recall with the session – open it up, and it’s all there. I primarily work on Logic Pro X as my writing and production tool, and δelta-Control works flawlessly.’

The final choice of the AWS 948 was driven mostly by the number of inputs required at mixdown. ‘The decision was based around flexibility at the mixing stage. I knew that I would run out with 24, but with 48 I never do. Also, for stem mixing, the 948 is designed for that. Everything stereo in the computer can go straight into stereo channels, and printing final stems (which is otherwise a laborious process) is sped up significantly because you have stereo outs on every channel. I can just print all of those channels in one pass if I choose to, which would be two hours work without the board.’

The choice of the AWS 948 was not about one particular feature but a compelling medley of solutions. ‘It is so broad, I can cover everything I need to. It’s a huge console but all within an arm’s reach. It’s everything from analogue tracking and mixing to DAW controller, all in one solution, and each aspect of it is world-class.’

More: www.solidstatelogic.com

Dynaudio Pro has added the LYD 48 to the top end of the LYD studio loudspeaker monitor range.

The LYD 48 features a three-way speaker design, coupling an 8-inch and a 4-inch woofer with 1-inch tweeter close-field and mid-field monitor applications. It is finished in white and black, as the original LYD range, and also in a classic all-black version.

Each of the woofers and the tweeter are powered by a dedicated class-D amplifier, delivering 80W/50W/50W of per monitor. The amplifier features a 96kHz, 24-bit signal path and selectable input sensitivity, as well as the same Standby Mode as the original LYD speakers. Also, like the other LYD monitors, the new three-way version offers Bass Extension selection for a choice between the default setting or pushing towards maximum bass or maximum volume. Changes will affect the low-end response, but importantly the linear frequency response remains intact.

The Sound Balance option is basically a tilt filter that tips the tonal balance to emphasise one end of the spectrum while decreasing the opposite end by the same amount. This approach is different from typical shelving filters, as it alters the frequency response, but without interfering with the phase. By default the monitor is set flat, but the Sound Balance toggle switch can go for either Bright or Dark.

The LYD 48 was conceived and constructed at Dynaudio’s facilities in Skanderborg, Denmark, using handmade driver units. All LYD 48 monitors are also assembled, finalised and tested here before leaving the warehouse.

‘This new monitor shares many of the same benefits as the original LYD range, including significant low-volume precision,’ says Product Manager, Sebastian Rodens. Obviously, the new three-way is even more powerful and brings audio precision to your passion regardless of whether you produce electronic music, rock, jazz, classical or any other genre – and at any listening volume.’

The LYD 48 will ship in Q2 2017, at US$1,529/€1,099 List ex-VAT (each).

More: www.dynaudio.com

German high-end studio processor specialist elysia has released the mpressor 500, extending its line of 500 Series hardware.

Bringing the powerful rack-mount mpressor compressor to the fashionable 500 series standard, the mpressor 500 combines punch with a full and detailed class-A sound. Its tone and flexibility make it useful in both recording and mixing, while special features take it beyond the remit of conventional compressors.

Extreme time constants, negative ratios, Anti Log release, and elysia’s proprietary gain reduction limiter provide a spectrum of unique dynamics shaping options. A new feature of the 500 series module is its switchable THD Boost, allowing on-the-fly signal coloration and saturation effects capable of delivering a different, grittier flavour.

‘It’s been a challenge to transfer such a sophisticated discrete design into the 500 series form factor,’ says elysia Head of Development, Ruben Tilgner. ‘But, after using and listening to the final version of the mpressor 500, we are truly pleased with what we have achieved.’

The mpressor 500 is made in Germany, using top-quality components, gold-plated PCBs, a rugged 4mm aluminium front panel, and solid aluminium knobs. It is available from any elysia dealer for US$749 MAP (US$805 MSRP) or €500 net (plus VAT where applicable), and is shipping now.

More: www.elysia.eu

Focal has released the Listen Professional headphone model for music production.

Listen Professional are over-ear closed back headphones with a head-band boasting comfort and durability – it’s curve remains consistent, regardless of the shape or size of the user’s head. Combined with the layer of silicone underneath the headband, this ensures that the weight is spread evenly over the head, preventing pressure in any specific area.

Focal drew inspiration from the research carried out when developing Elear and Utopia headphones on a real miniature full-range speaker driver. This time, the speaker driver has been given a 100% Mylar suspension, whereas the central dome is composed of a Mylar/Titanium alloy to provide more rigidity and extended frequency response in the upper end of the spectrum. Thus, the moving part is extremely light, enabling the transducer to exceed 40kHz on a flat baffle. The reproduction of the bass and sub-bass registers combines a tuning frequency which is as low as possible, with extremely low distortion (0.3% at 1kHz – 100dB).

Microfibre provides a more linear bass register and favors acoustic output, whereas the acoustic tissue, which is closer to the speaker driver, offers great absorption and linearity in the 3-9kHz register. The bass and also the lower mid-range registers claim tonal balance and articulation where compression and frequency response generally suffer on closed-back headphones. The upper mid-range has great precision and high definition in order to emphasize any imperfections in the equalization or the adjustment of the levels of the various tracks in relation to one another.

Listen Professional headphones come in a rigid carrying case is supplied with the headphones. Relatively compact, it ensures a high level of protection against impacts. There’s also room for a cable and an iLok key. Two low impedance OFC cables are also supplied – a 16ft (5m) coiled cable with 3.5mm jack plugs at each end for professional use, with a 3.5mm to 6.35mm jack adapter provided for using the headphones on a mixing console or audio interface. A second, straight cable (4.5ft/1.4m) equipped with a multi-function remote control and an omni-directional microphone is supplied for using Listen Professional with a smartphone. Both of these cables feature a locking mechanism to prevent the cables from accidentally becoming disconnected.

Listen Professional headphones are now shipping, US street price of US$299.

More: www.focal.com/en/headphones-0/headphones

Featuring a tuned, circumaural (closed-back) design and high quality 40mm dynamic diaphragm, the new Fostex TH7 Series of Monitor Headphones follow the TH7B and TH7W models with in a new appearance in four colour options.

The TH7 Series has a frequency response of 10Hz to 35kHz, and 100mW power handling capacity with 100dB sensitivity. With these specs, it the headphones are intended for applications ranging from live sound monitoring to critical listening in studios and at home. High-grade leatherette ear pads reduce the stress of long-term listening and its 1.2m cable with gold plated 3.5mm stereo plug provides corrosion-free connection.

The TH7 Series will debut at NAMM 2017 and ship in March at a MAP of $99.99.

Part of Appalachian State University, the Hayes School of Music has installed a 48-channel Solid State Logic Duality δelta console in its Robert F Gilley Recording Studio as part its ongoing investment in the Recording and Production aspects of its Music Industry Studies degree course.

The new console has gone into the John Storyk-designed Studio A control room, with current students invited to participate in the installation – including wiring and patchbay design – under the guidance of Chief Recording Engineer and Associate Professor of Music, Scott Wynne.

The university has mode considerable recent investment in outboard equipment and, according to Wynne, had run into a ‘bottleneck’. He felt that the digital console they had at the time was not making the most of the extensive analogue kit, especially when it came to issues caused by managing conversion delays and so on. ‘There was of course a lot more to it than that,’ he notes, ‘But that’s where the process started.’

Once the Provost (Dr Darrell P Kruger) had seen the programme and talked to the students he felt like it was a worthwhile investment. The purchase was approved in Spring 2016. ‘Now it’s in, I’d say the total recall system is one of the things I really enjoy about it,’ says Wynne. ‘Recalling the entire 48 channels is fast and easy, which is great for the students. The recording studio runs 24 hours a day, seven days a week, and our sessions are booked five hours back-to-back. You can waste a lot of time recalling other consoles. That was a big consideration for our facility.’

Only 15 students a year start the Recording and Production course at the school, to ensure every one leaves with extensive and valuable experience in a wide range of technologies and techniques. During their time at the school, students record and mix a huge range of material and original projects from simple mobile and live mixes to full multitrack and surround productions in Studio A, culminating in a final four-song EP or postproduction project. The final semester is a 14-week studio internship.

‘Rather than taking 100 students and weeding them out,’ explains Wynne, ‘We want to make sure those 15 students all graduate and are really well qualified, with lots of hands-on experience.’

Four students signed up to do the bulk of the Duality installation work, while another five contributed to the effort as required. The core team worked through the summer to finish the installation, putting an estimated 280 man-hours into the project: ‘By the time the console arrived we had built input and output snakes for eight channels so we could test and sign off on the console,’ Wynne  says. ‘Then we went on to the main cable work, teaching the relevant skills and techniques as we went.’

He had to leave the school for a few weeks at the end of the summer, with one week of installation to go. ‘What the students love about this console and what I love about teaching on this console is that 15 students wandered into a studio they had never operated before, with a completely new patchbay, and were operational by the time I got back – with only two weeks of messing about on it. That justifies the investment.’

More: www.solidstatelogic.com

A 48-channel Audient ASP8024 Heritage Edition console has recently been installed at the University of Huddersfield, where students of Music Technology & Audio Systems BSc(Hons), Popular Music BSc(Hons) and Popular Music Production BA(Hons) courses are already putting it to work.

Music Technology Technical Team Leader Ben Evans was part of the team that specified the desk, which is complete with patchbay and producers desk.

‘The integrated patchbay took a lot of the hassle out of installation and is really well laid out,’ he reports. ‘This meant we had the desk up and running very quickly after delivery. Staff and students have all been impressed when they see the console – it really has the wow factor.

‘Students love the work flow of the desk, and have responded well to the learning curve of moving from a digital set-up where everything is hidden in menus, to a work flow where everything is in front of them. It has inspired the students to spend more time in the studios and to get the best out of the desk, experimenting with things like driving the pres and using the bus compressor.’

Evans says that the decision to go for the super-sized Heritage, supplied by studio design and build experts Studio People, is part of a longer-term plan. ‘We purchased in time to help promote and launch our new courses starting in September 2018,’ citing Sound Engineering & Music Production BSc(Hons) and Audio Engineering BSc(Hons) as examples of the new suite of courses.

The fact that Heritage is an analogue console was of paramount importance. ‘Analogue consoles are part of the classic workflow in recording studios which is still preferred by the world top producers working in the best studios. Teaching on an analogue desk is very important as it equips the students with industry skills that are transferrable from one console – and studio – to another. To get hands-on experience on a large form analogue desk is something you can’t do easily at home in your bedroom,’ says Evans, pleased to report that some 150-200 students will be getting that experience with Audient at the University of Huddersfield this year.

There are a further four highly specified analogue recording studios fully stocked with rack gear, as well as a further four surround sound production studios, a foley studio, radio studio and a live music production room with a large FOH PA system. These are the result of significant investment in the music technology department this year, making this ‘an exciting time for the university as the campus and facilities continue to develop and expand,’ according to Evans. ‘With this new equipment they will get the best experience.’

More: www.audient.com

Michael Carnes has been developing surround reverbs for more than 20 years. He was the lead developer behind what may have been the first true surround reverb – the Lexicon 960L, shipped in 2000. 

A fully-loaded 960L could provide two 5.1 reverbs at 96kHz and cos a little under $20,000 – 30 times the cost of an Exponential Audio plug-in that will provide up to 22 channels of reverb at up to 384kHz with money left over for popcorn.

 Run by owner and sound engineer Dany Maatouk with his girlfriend Katia Pereira de Almeida, Paris’ Jolokia Studio was founded in 2014. Recently, Maatouk installed an Audient ASP4816 hybrid mixing console. Several desks initially considered, but after relatively few weeks of research, Maatouk admits that choosing Audient was ‘an easy decision – I’m sure you’re the only ones offering such quality at this price.

‘It is the only console that offers 16 channel strips with in-line architecture, giving the option to use it as a 40-channel mixing desk,’ he continues. ‘In addition to all that, there is an amazing bus compressor, some very high-quality preamps and a ton of monitoring possibilities. For me, the only console that answered my every need was the ASP4816.’

Claiming the first ‘mini main monitor system’ on the market, Kii Audio has released the Kii Three Pro studio monitor system.

The compact Kii Three Pro system is loaded with six drivers, with 1.5kW per speaker using proprietary Active Wave Focusing technology to controlling sound dispersion. Intelligent DSP provides a cardioid sound dispersion pattern down to the low-mid and bass frequencies, which otherwise must be achieved using wide baffles, large cabinets or soffit mounting (infinite baffle).

Alongside the Kii Three Pro, Kii Control, transforms the Kii Three into a complete reproduction system. Kii Control offers three additional inputs – Coax SPDIF, Optical TOSLink and USB (up to PCM 24/384kHz and DSD64/DSD128 on USB).

Easy to connect and use, the inputs are activated with touch switches around the volume knob, and a hardware input on the speaker itself supports analogue or digital input. The Kii Control is connected and powered through the included Cat6 cable, so no additional power supply is necessary, and it also boasts lossless volume control, mute and dim functions, latency switching, user-preset options, and a range of advanced settings accessed via an OLED display.

The Kii Thee Pro is priced at €8.700 (ex VAT) per pair.

More: www.kiiaudio.com

Neyrinck has announced free upgrades to the V-Control Pro 2 media control system, including a free V-Panner app for surround and stereo panning from iOS and Android tablets and smartphones, as well as major upgrades to the V-Console fader control app.

V-Control Pro 2 is a complete integrated control system for OS-X and Windows media applications including Pro Tools, Cubase, Logic Pro, Studio One and Premier Pro. Free control apps connect through the V-Control Pro 2 software that integrates and simplifies control of the main OS-X and Windows media applications. V-Control Pro 2 is also used to connect the Slate Raven MTi2 and MTX mk2 systems to media applications such as Pro Tools and Logic Pro.

The V-Panner app provides control of surround and stereo mixing in Pro Tools and stereo mixing in Logic Pro and Cubase. It runs on iOS and Android tablets and phones with wireless networking, on a laptop web browser, or direct wired connection from the iPad. Two mono track surround panners can be set up, or a stereo track surround panner, for intuitive touch-panning control. V-Panner also includes an motion feature that allows panning to follow the motion of a smartphone.

V-Console is a free 8- or 16-fader iOS and Android control app for recording, editing and mixing that can also use multiple devices for up to 32 faders of control. New V-Console upgrades include V-Window that allow users to control plug-ins using the actual plug-in screens, and an improved insert and plug-in popup window.

‘With the addition of V-Panner, and integration of V-Window into V-Console, we can now offer the features of our legacy V-Control 1 app as well as a host of new features such as 16-, 24- and 32-fader control, Android support and auto-sensing for wired iPad connection,’ says founder, Paul Neyrinck. ‘We paid special attention to compatibility with the iPad Pro, the large size is perfect for 16 fader skins.’

V-Control Pro 2 annual licence costs US$49.99 from the Neyrinck Store. A limited version free trial is also available. V-Console and V-Panner free apps are available from the Neyrinck website for iPhone, Android and web, and from the Apple App store for iPad. Legacy V-Control Pro v1.9 iPad customers can download V-Control Pro 2 software for free for complete V-Control Pro 1.9 compatibility with OS-X and Windows media applications.

The current list of V-Control Pro 2 supported OS-X and Windows applications includes Cubase, Digital Performer, Live, Logic Pro X, Mackie Control, MIO Console, Premiere Pro, Pro Tools, Reaper, Reason, Studio One and Tracktion.

More: www.neyrinck.com

A chart success in 20 countries that ranked top on Spotify Global and attracted 270m views in just four weeks on YouTube, infectious, ‘Mi Gente’ (My People) is Latin-tinged pop from French DJ Willy William and Colombian singer J Balvin. The song was mixed by French Canadian songwriter/producer/mixer, Philippe ‘Phil’ Greiss in Stockholm, using his newly configured in-the-box set-up.

Associated with a number of Quebec-based artists looking to the French market, Greiss has been in-the-box for the past three years – in addition to working remotely in Paris, Los Angeles and latterly Stockholm, he maintains a professional hardware-based studio in Montreal but says that he increasing depends on a remote rig centred on an RME ADI-2 Pro AD/DA converter:

‘Songwriting is such a collaborative process that you need to be able to work with people in person, wherever they are,’ he says. ‘I really need a high-quality converter wherever I go and, in this regard, the ADI-2 Pro has truly been a game-changer.’

RME’s ADI-2 Pro reference converter packs several of its German manufacturer’s best-in-class feature sets into a powerful, yet mobile production tool. Supporting sample rates of up to 768kHz, full parametric EQ and dynamics, rock-solid clocking and an audiophile grade headphone amplifier, the ADI-2 Pro is road-ready.

Greiss is drawn to the pop music genre, and has left his mark on many international hits such as Maitre Gims’s ‘Sapés Comme Jamais’ (song of the year at the French Victoires de la Musique), and ‘Loin (Pilule Violette)’, which has since been certified Gold in Germany and topped the pop charts in Belgium. ‘I love the sound of a new pop record and always pay close attention to the sound of the top 40,’ he says. ‘I guess I am infusing some of these qualities and sensibilities into the work that I do for myself and others.’

While his permanent studio in Montreal features 32 outputs going through an analogue summing system paired with a high-end Focal monitoring, his remote rig consists solely of the RME ADI-2 Pro interface, an RME Babyface Pro, which he uses to track vocals when on the road, a pair of Focal Solo6 monitors, two pairs of reference headphones and an ADK laptop loaded with Pro Tools, Sonar and Ableton Live. ‘The ADI-2 Pro helps me get the best sound out of any session, and it is great to have laser-accurate, reference quality audio wherever I am working in the world,’ he reports.

This portability has enabled Greiss to move closer to the market where he is most active. ‘I was drawn to Europe as a result of all the records I have been working on. Willy William and I have known each other forever and always wanted to work more together, and we finally used this project to this a reality,’ he says. ‘I ended up mixing ‘Mi Gente’ and never could have anticipated its global appeal and international success.’

Greiss says that his ADI-2 Pro allows him to toggle between songwriting, producing and mixing. ‘Having a tool like the ADI-2 Pro is very important because songwriting is such a collaborative process. You need to be able to work whether people are coming to you or if you are going to them,’ he explains. ‘I really need a high-quality converter wherever I go, and the ADI-2 Pro helps me get the best possible audio out of any session.’

This not only provides reference audio, but ensures the sonic integrity is where it needs to be: ‘It is a great comfort knowing that I will have a laser-precise rendition of the audio I am working with, no matter where I am in the world or who I am working with.’

One of Greiss’ favourite aspects of the ADI-2 Pro is its parametric EQ, which he routinely uses to correct acoustic anomalies that can occur while working in a variety of rooms. This powerful tool enabled him to become more comfortable while mixing and monitoring, with all the necessary controls at his fingertips.

‘I mixed ‘Mi Gente’ in Paris, in a room with some acoustic challenges but, with the ADI-2 Pro, I was able to correct the output and correct a couple of room modes,’ he recalls. ‘I spent probably ten minutes with the tone sweep, revealing unwanted resonances, and I just adjusted them.’

‘The preamps on the UCX and Babyface Pro are very clean and transparent, which is exactly what I need,’ he adds. ‘It allows me to colour the source after the recording if needed, with the plethora of amazing emulations and processors that exist today.’

The monitoring too is important: ‘I am spoiled with the whole experience of listening to audio through the ADI-2 Pro,’ he admits. ‘Everything I listen to is right through the box – I am getting the benefit of world-class headphone amplification coupled with great conversion and it makes for an amazing listening experience.

‘I am working with great conversion from RME, and the ADI-2 Pro has really taken things to another level. With the ADI-2 Pro, I am completely at ease in the box and can work with greater speed and efficiency. It is a great time to be in the box; it’s going to be difficult to go back.’

More: www.rme-audio.com

The CTC-1 Pro Console Shaper is the second in the PreSonus series of Mix Engine FX plug-ins for Studio One 3 Professional DAW.  The new add-on works with Studio One Professional 3.3.1 and later, providing models of three classic British, vintage tube, and custom consoles, and brings enhancements to the Mix Engine FX environment.

Every analogue console or summing mixer has a sonic signature that makes it recognisable in a mix. CTC-1 captures the unique character of the consoles modelled and allows this to be increased by a variable amount – like running the signal through the same console multiple times.

Introduced in Studio One 3.2 Professional, Mix Engine FX is a plug-in that can subtly alter or completely transform Studio One’s native mix engine. In contrast to conventional plug-ins that must be inserted independently on each channel, with limited or no interoperability, Mix Engine FX can process every channel routed through a bus, both individually at the source and at their summing point, using one plug-in. Any bus, including the main stereo bus, can have its own Mix Engine FX assigned.

Using State Space Modelling technology, CTC-1 captures the character and personality of analogue consoles, with modelling of input drive, channel noise, crosstalk, and character. It offers easy-to-use automatic gain compensation and a pass-thru option for added flexibility. The Drive stage re-creates the characteristic dynamic behaviour of an analogue console input preamp. Increasing the Drive amount first adds subtle harmonics to the signal, then goes into saturation or analogue distortion when the amount increases above a certain level. The character and sonic quality of this effect varies significantly between each model.

Inherent signal noise is key in defining the sonic character of an analogue console. The modelled analogue noise in CTC-1 is unique because it’s different on every channel, which is only possible with Mix Engine FX. Add a small amount of noise to any mix, and it will give the overall sound a more ‘analogue’ character. For songs that have a fade at the end, activate the noise gate to fade out the noise automatically, avoiding any unwanted noise tails.

Unlike plug-ins that work on a single channel or bus insert and only provide crosstalk between left and right signals, the crosstalk generated in CTC-1 spills over naturally into adjacent channels, with decreasing amounts the further away a channel is from the source.

Adding high amounts of Drive to the signal can result in extreme gain offsets inside the console, which could have a negative impact on subsequent plug-ins by offsetting dynamics threshold levels or creating distortion. CTC-1 is equipped with gain compensation algorithms to avoid this effect. Two settings are available: With the Bus setting, master gain compensation is applied inside the bus in which CTC-1 is inserted, before any bus insert effects; with the Channel setting, individual gain compensation is applied in each channel routed into the bus.

Since CTC-1 is a Mix Engine FX plug-in, and processing is applied to many sources individually, CPU load could get out of control, especially when working on a large project with many channels. Here, ECO mode comes to the rescue, reducing processing by using simplified algorithms with less attention to the nonlinearity in the signals.

The CTC-1 Pro Console Shaper Add-on for Studio One 3 Professional 3.3.1 (or later) is available for US$79.99 at the PreSonus Shop.

More: www.presonus.com

PreSonus has released the HD9 Professional Monitoring Headphone for music mixing and production, promising ‘comfort and clarity for long-haul mix sessions’.

The HD9 features a closed-back acoustic design to provide listening isolation and reduce headphone bleed. The 45mm dynamic, neodymium drivers and high-power handling (900mW/channel into 40Ω) deliver loud, clear, clean audio, minimising listening fatigue. The tailored frequency response extends from 10Hz–26kHz (±3dB), with accurate bass response, enabling precise mixes.

The lightweight HD9 features an adjustable headband, cups that rotate 180° on two axes, and comfortable, durable ear pads. A straight, ten-foot cable drops down one side. The HD9 comes with a gold-plated, 3.5mm-to-quarter-inch adapter and a storage bag.

PreSonus HD9s are available immediately at an anticipated street price of US$79.95.

More: www.presonus.com/products/HD9