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The UAD just got OTO 8-bit effects, Moog filters, and booty-shaking bass

Universal Audio has been a name in recreations of classic studio gear for some time. But now, here’s something that will appeal directly to producers. Included in a slew of updates today, you get crunchy, wild 8-bit effects (emulating the now-discontinued boutique OTO BISCUIT hardware), Moog multimode filters paired with powerful modulation and filters, and a subharmonic synth from the disco age you can use to add booty-shaking low end to tracks. In other words, it’s like Christmas for producers with UAD, with a whole bunch of delicious stuff you might want. This isn’t a review, yet – will follow …

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Eventide want to change how you think about processing audio

Digital signal processing is some futuristic stuff. It may not be able literally to let you traverse space and time as relative dimensions, but it can treat time and frequency separately and mash them back together. And that’s already freaky enough. Now, Eventide – the folks you know probably for their classic hardware and reverbs – are pushing that notion right into their marketing, dubbing their approach “structural audio.” Structural audio sounds a bit like a panel presentation you went to at an Audio Engineering Society conference that sounded fascinating but completely lost you and then you went looking for …

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Dispersion makes it crazy easy to get that bouncing ball delay sound

You know the sound. Bah bah bahb bh bh bhbhbbbbdddd… And you’ve heard in … some track. Somewhere. Okay, you know, words really aren’t the greatest thing for describing particular audio effects. So just listen: The “bouncing ball” delay is just one of the sounds available in Dispersion, a new thirty-dollar audio effect plug-in for the Mac. You get organic sounding delays that are all synced together to match a groove. That gives you tight choruses and stereo widening, nice crunchy-grainy delays, and other shuffles and diffusion and, you know, delay sounds. It’s an especially nice combination of very useful …

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One of the best premium audio interfaces now claims to be better

How much time do producers spend just handling one or two inputs and stereo output (plus monitoring)? My guess is — a lot. Once you’re out of the studio, that amount goes up. But generally speaking, premium interfaces have tended to assume you need more I/O – even though a lot of electronic production now occurs in the box. So part of the reason the Universal Audio Apollo Twin has been important is that it changes the value equation. It doesn’t do a whole lot of I/O – this is really about recording one thing at a time, listening, and …

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In-depth: Cubase 9 adds integrated Sampler Tracks, lots more

Cubase 9 is here, and Steinberg are touting improved stability and performance, and lots of user-requested features. That includes new goodies like a built-in Sample Track for manipulating audio, plus history in the mixer. At last, all the Cubase releases are synced – Elements, Artist, and Pro all hit Cubase 9 at once. (Steinberg says it’s the first time that’s happened.) But this is also intended to be a clean break. 32-bit plug-in support is out – 64-bit only. There’s also meant to be improved compatibility as a result, and a scanner tool will hunt out plug-ins you’ve got that …

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The MotherF***** is the DIY delay-reverb box of your nightmares

If you want a nice, pristine, versatile delay/reverb, then … this isn’t it. It’s called the MotherF***er 2 for a reason. It’s the creation of Ewa Justka, engineer and musician born in Poland and based in London. (Ewa was also nice enough to co-host the MusicMakers Hacklab with us at CTM Festival this year, where she was a patient and inspirational guide for our artists in inventing all manner of new things.) And this pedal is all sorts of crazy in all the best ways. Keep watching, as there are actually a bunch of different possible sounds in there. And …

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Finally, a different EQ model – and it’s free from Soundtoys

Vanilla. I love vanilla. But I don’t want to eat vanilla ice cream all the time. EQs lately have been like vanilla ice cream – you get the same old model over and over and over again. You can get really amazingly accurate models in digital form, enough that you might reasonably skip hardware. But it’s too much of one thing. The folks at Soundtoys apparently felt the same. And they’re giving us something different. Now, I’m happy with my Oxford plug-ins and my Pulteqs and so on – don’t get me wrong. Really; I use them all the time …

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Slow is a super long reverb delay from Tim Exile and it’s free

Well, if you’re on a tight deadline for delivering an ambient/experimental/IDM album, and you’re totally out of money (and even possibly ideas), good news. You’re saved. Tim Exile just released S L O W, for free. To those who don’t know him, Mr. Exile is a professional mad scientist specializing in Reaktor engineering, virtuoso laptop musicinator, electronica personality, and man about town. Tim’s exploits are widely known and buzzed about among nerds and sonic weirdos, but since they won’t reach everyone’s ears that way, he also has a mailing list. Signing up for said mailing list is your key to …

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Vocalists, track on your computer as if it were outboard gear

Maybe you’re tracking in a studio full of everything you want. But otherwise, it’s tough to argue with the appeal of being able to add tools freely, connecting just the cable from your mic to your computer. And so, for anyone recording vocals, this week’s news from Universal Audio is welcome indeed. It means that you can use a simulation of a powerful channel strip full of gear in software form – but track in real-time, as if you owned the actual hardware. And you can do it for a price that’s pretty humane.

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This amp and FX pack shows what you can do with Reason

In music software, you have things that are modular, and things that aren’t. Modular environments like Reaktor and Max/MSP let you build things from scratch with essentially unlimited flexibility. DAWs tend to lock you into fairly rigid options for how you combine different instruments, effects, and other tools. Well, Reason sits somewhere in between. Every virtual synth, effect, and signal tool can be patched into another in a single, integrated environment – even as it still remains a production tool with a timeline and mixer (or mixers). In a great example of why that’s cool, hard-core Reason expert Marco Raaphorst …

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