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Vengeance Sound Glitch Bitch

Tuesday, July 22nd, 2014

Read more about Vengeance Sound Glitch Bitch at MusicRadar.com


The newest addition to Vengeance Sound’s acclaimed Producer Suite range, Glitch Bitch is an effect (VST/AU/AAX) designed primarily to create those momentary (or sustained) bursts of real-time sound-mangling commonly referred to as ‘glitch edits’.

“Its core functionality involves repeating a chunk of the input signal – a ‘buffer’ – to create a stuttering effect”

Its core functionality involves repeating a chunk of the input signal – a ‘buffer’ – to create a stuttering effect, similar to a stuck CD but with the advantage of being syncable to the host DAW’s tempo.

You can reverse the buffer for some disorientating effects, and the Buffersize parameter has its own modulation envelope, giving you a totally intuitive, visually representative way to change the length of each repeat over time.

Vengeance calls this (and the plugin’s four other envelopes) an ‘n-point’ envelope, allowing you to add (and remove) as many nodes as you like, creating anything from quick glitches to repeating builds.

The plugin also sports resonant high-pass and low-pass filters for bold tonal shifts; a Pitch control for dropping the buffer down in cents and semitones by anything up to an octave; a sample rate divider that can heavily crunch up the audio; and panning and volume controls – all of which can be modulated by the aforementioned envelopes.

Bitchin’

Despite its relative internal complexity, Glitch Bitch is extremely user-friendly. The presets – without which the whole plugin would be fairly unremarkable – are programmed not only to show off what the effect can do in a wide range of situations, but also to provide a solid library of instant glitch effects beyond which you may never need to venture. They mostly comprise a collection of generic glitch edits, which are actually very usable straight out of the box.

“We really appreciate Vengeance’s unusual design strategy of making the presets a deeply integral element of the plugin”

Obviously, what you get out of Glitch Bitch very much depends on what you feed into it, but it would be fair to say that it’s one of the cleaner glitching effects we’ve come across, and we really appreciate Vengeance’s unusual design strategy of making the presets a deeply integral element of the plugin.

Indeed, although the individual functions that Glitch Bitch performs could be closely approximated by chaining strings of free plugins together, we’d suggest that it’s the presets – more than just the consolidation of these processes in a single plugin – that make it the viable, practical solution that it is.

Of course, with the effect essentially controlled by those hugely flexible n-point envelopes, the presets are highly customisable. There’s even an internal sequencer for controlling all aspects of the plugin (including the Glitch trigger button) that can be used instead of manual live triggering and automation when you want to tightly fit your edits into the context of a specific track.

Regardless of your approach, though, Glitch Bitch is just the thing for modernising a beat, adding interest to a vocal, or increasing the intensity of a build-up or off-the-wall EDM riff. It probably won’t do much for your three-piece folk band, but that should come as no surprise.

Our only major issue with it is the name, which (we assume) is meant to be funny but just comes across as awkwardly sexist and embarrassing.

Read more about Vengeance Sound Glitch Bitch at MusicRadar.com







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Sound Magic updates Imperial Grand to v3.01 and Neo EQ to v2.1

Saturday, July 19th, 2014

Sound Magic has updated Imperial Grand to v3.01 and Neo EQ to v2.1. Changes in Imperial Grand v3.01: Lower the pedal noise volume by 12dB. Fixes an issue may cause the plug-in fail to active. Removes [Read More]
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Sound Magic releases “Reverb Bundle” for Mac and Win VST and AU and “Pop Extension Pack” for China Story Erhu

Saturday, July 12th, 2014

Sound Magic has released Reverb Bundle, an effect plug-in bundle for reverb, imaging, surround and delay for Mac OS X and Windows in VST and AU plug-in formats. Reverb Bundle contains four plugins spe [Read More]
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Prism Sound Lyra 2

Saturday, July 12th, 2014

Read more about Prism Sound Lyra 2 at MusicRadar.com


Prism Sound has the rare accolade of being respected by pretty much one and all. Its uncompromising pursuit of quality does mean that its products are not the cheapest, however, so it has tended to be found only in the upper echelons of recording. The Lyra range is its most affordable yet but it uses much of the technology of its bigger and more expensive siblings, so is there a compromise?

The Lyra feels solid and beautifully built. The front panel sports two instrument inputs, a metering section, an assignable level control and a headphone output with dedicated level control. On the back are input XLRs for microphones, two line input 1/4-inch TRS jacks and four 1/4-inch TRS outputs.

“The Lyra can be used as a standalone unit but, as in most situations it will be hooked up to a computer”

In addition there is a USB port, two BNC sockets for wordclock in and out, two phono connectors for S/PDIF I/O and the ADAT lightpipe I/O sockets. Power is connected via an IEC mains connector so there is no external PSU to lose. There is also a pair of phono to XLR connectors so that the wired digital I/O can be used in AES format.

The Lyra can be used as a standalone unit but, as in most situations it will be hooked up to a computer, you need to install the included software as this opens up the full functionality of the unit. Firstly you have control of sample rate, sync sources, and so on, via a set of pull-down menus. Below these is the mixer section where you can access each section of the Lyra and create different balances for different outputs.

On the inputs page you have two analogue inputs where you can switch between Mic, Line and Instrument, switch phantom for mics, stick in a high-pass filter, switch the Overkiller circuit in and out and phase reverse. There is also a Stereo digital input and, if you have ADAT selected, eight ADAT inputs.

For each potential analogue or digital output you have a separate mixer that allows you to set up different balances to each potential output pair (ie analogue out 1&2, ADAT out 5&6 or the dedicated headphone out) – handy for setting up different monitor balances when recording but also great if you are running a live show from a laptop.

Unbeatable sound

“In a blind listening test with several colleagues the results were unanimous: the Lyra came out on top for everyone”

While the connection and mix possibilities are excellent, the sound is even better. In our test studio we have access to some very high-end interfaces already so we conducted a blind listening test with several colleagues. The results were unanimous. The Lyra came out on top for everyone.

The low-end is incredibly precise and full, the mids smooth and detailed and the highs are superb and vibrant. Stereo imaging is excellent but it’s the depth of field that really wins you over. This writer spends a lot of time in mixes getting the acoustic spaces just right and the Lyra makes it easy to hear exactly what you are doing. From hard-edged Electro through to Classical, you hear every glorious detail.

The two microphone inputs also sound stunning. They are superbly transparent with wonderful transient response and the overkiller soft limiter which guarantees no overloads – any recording source will benefit from going through them. Just the pres alone would give plenty of other high-end units a run for their money.

If you are in the market for a truly professional quality, small format convertor with flexible monitoring options look no further. While there might be a couple of other units on the market which match it for sonic quality, nothing stands above it as a complete package. Highly recommended.

Read more about Prism Sound Lyra 2 at MusicRadar.com







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Prism Sound Lyra 2

Saturday, July 12th, 2014

Read more about Prism Sound Lyra 2 at MusicRadar.com


Prism Sound has the rare accolade of being respected by pretty much one and all. Its uncompromising pursuit of quality does mean that its products are not the cheapest, however, so it has tended to be found only in the upper echelons of recording. The Lyra range is its most affordable yet but it uses much of the technology of its bigger and more expensive siblings, so is there a compromise?

The Lyra feels solid and beautifully built. The front panel sports two instrument inputs, a metering section, an assignable level control and a headphone output with dedicated level control. On the back are input XLRs for microphones, two line input 1/4-inch TRS jacks and four 1/4-inch TRS outputs.

“The Lyra can be used as a standalone unit but, as in most situations it will be hooked up to a computer”

In addition there is a USB port, two BNC sockets for wordclock in and out, two phono connectors for S/PDIF I/O and the ADAT lightpipe I/O sockets. Power is connected via an IEC mains connector so there is no external PSU to lose. There is also a pair of phono to XLR connectors so that the wired digital I/O can be used in AES format.

The Lyra can be used as a standalone unit but, as in most situations it will be hooked up to a computer, you need to install the included software as this opens up the full functionality of the unit. Firstly you have control of sample rate, sync sources, and so on, via a set of pull-down menus. Below these is the mixer section where you can access each section of the Lyra and create different balances for different outputs.

On the inputs page you have two analogue inputs where you can switch between Mic, Line and Instrument, switch phantom for mics, stick in a high-pass filter, switch the Overkiller circuit in and out and phase reverse. There is also a Stereo digital input and, if you have ADAT selected, eight ADAT inputs.

For each potential analogue or digital output you have a separate mixer that allows you to set up different balances to each potential output pair (ie analogue out 1&2, ADAT out 5&6 or the dedicated headphone out) – handy for setting up different monitor balances when recording but also great if you are running a live show from a laptop.

Unbeatable sound

“In a blind listening test with several colleagues the results were unanimous: the Lyra came out on top for everyone”

While the connection and mix possibilities are excellent, the sound is even better. In our test studio we have access to some very high-end interfaces already so we conducted a blind listening test with several colleagues. The results were unanimous. The Lyra came out on top for everyone.

The low-end is incredibly precise and full, the mids smooth and detailed and the highs are superb and vibrant. Stereo imaging is excellent but it’s the depth of field that really wins you over. This writer spends a lot of time in mixes getting the acoustic spaces just right and the Lyra makes it easy to hear exactly what you are doing. From hard-edged Electro through to Classical, you hear every glorious detail.

The two microphone inputs also sound stunning. They are superbly transparent with wonderful transient response and the overkiller soft limiter which guarantees no overloads – any recording source will benefit from going through them. Just the pres alone would give plenty of other high-end units a run for their money.

If you are in the market for a truly professional quality, small format convertor with flexible monitoring options look no further. While there might be a couple of other units on the market which match it for sonic quality, nothing stands above it as a complete package. Highly recommended.

Read more about Prism Sound Lyra 2 at MusicRadar.com







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Sound Dust releases Modular Chaos Engine #1 and #2 plus a new free Tiny Chaos Engine – all for Kontakt

Friday, July 11th, 2014

Sound Dust has released a new range of Kontakt rhythm engine instruments for composers, pop experimentalists and lovers of funny noises. Modular Chaos Engine #1 – Found is a chaotic drum machine mad [Read More]
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Felt Tip updates “Sound Studio” Mac Audio Editor to v4.7

Thursday, July 10th, 2014

Felt Tip has updated Sound Studio, the audio editor app for Mac OS X, to v4.7. Changes in v4.7: Changed how multi-track selection works. Now, you always select all tracks with the mouse, and use the C [Read More]
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99Sounds releases Free “Rumore Cinematic Impacts” Sound Library

Thursday, July 10th, 2014

99Sounds has released Rumore Cinematic Impacts, a free collection of impact sound effects designed by Alessandro Alcinesio (aka HAL9K). The library contains 50 cinematic impacts suitable for modern fi [Read More]
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Resonance Sound releases “Complextro and Electro House Massive Presets”

Wednesday, July 9th, 2014

Resonance Sound has announced the release of Complextro and Electro House Massive Presets, a new collection of 64 patches for Native Instruments Massive designed by Derrek for Complextro, Dubstep, Ele [Read More]
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Joey Sturgis Tones releases Pixelator – Audio Resolution Manipulator for Sound Design and Destruction

Wednesday, July 2nd, 2014

Joey Sturgis has released Pixelator, an “audio resolution manipulator for sound design and destruction”. This plugin was created with producers, sound designers, and musicians in mind. It allows you t [Read More]
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