Kvr: Cognitone Releases Akai Ewi-usb Control For Mac

1. Kvr: Cognition Releases Akai Ewi-usb Control For Mac Mac
2. Kvr: Cognition Releases Akai Ewi-usb Control For Mac Free

Akai EWI USB Control 1.0.8 (Mac) Setup and MIDI filtering utility for the Akai EWI USB wind controller hardware. Akai EWI USB Control 1.0.8 (Windows).

• شروع موضوع توسط Light 1/10/12 در انجمن KVR Audio. Cognitone releases Akai EWI-USB Control for Mac and Win.
• Akai EWI-USB Control can be chained between the controller hardware and a. Akai EWI-USB Control by Cognitone is a Virtual Instrument Audio Plugin and an Audio Plugin Host. Version, Download, Released. 15 May 14Mac Version.

This heightened integration goes beyond providing Dante communication from system input to output, delivering enhanced control and operability as well. According to Yoshi Tsugawa, CEO of NEXO, “ We intend to take all operations and processes that are troublesome, time consuming, complex, or uncertain, and make them fast, easy, assured, and safe.

That ’ s the value we ’ re aiming for in all Yamaha + NEXO systems, and this development marks another step in that direction. By being keenly aware of our customers ’ needs and deepening our technical cooperation, Yamaha + NEXO are determined to offer important innovations and increased advantages into the future. Kazunori Kobayashi, general manager of the Yamaha Corporation pro audio division, adds: “ Since the formation of our partnership in 2005, Yamaha and NEXO have cooperated closely in the field of amplifier and speaker product development. This new solution provides a software connection between products that were previously separate, giving our customers a more comfortable, more efficient working environment. The Yamaha + NEXO advantage goes way beyond hardware, to new levels of system integration and quality. The numerous components that make up a practical post-production system must function as a well-integrated whole in order to achieve professional workflow efficiency and output quality. The Nuage integrated system offers top-class hardware and software working in perfect harmony, for unprecedented mixing, editing, or dialog replacement efficiency in audio post production applications.

Kvr: Cognition Releases Akai Ewi-usb Control For Mac Mac

Yamaha control and interface hardware seamlessly integrates with Steinberg Nuendo DAW software in a purpose-built system that offers all-new productivity and flexibility as well as premium audio quality. For maximum system versatility the dedicated Yamaha control surface and audio interface hardware is modular, and all units communicate with each other and the central computer via a reliable Dante network, so it’s easy to create custom configurations to match any. Nuendo 6, the latest and most powerful iteration of Steinberg’s acclaimed digital audio workstation software, is at the core of the system with unbeatable DAW features and performance. Kazunori Kobayashi, general manager of the Yamaha Corporation Pro Audio Division, comments: “Nuage is a professional production system that incorporates the most advanced technology and interface design know-how from Yamaha and Steinberg. Yamaha has been manufacturing digital mixers for 25 years, and it is 12 years since Steinberg introduced the first version of the Nuendo DAW.

It is a great pleasure to be able to announce such a groundbreaking collaboration at this time, and we are confident that current Nuendo users as well as users who will experience a Nuendo based system for the first time will be more than satisfied with the extraordinary performance and efficiency that Nuage offers.”. “Combining Yamaha’s long-term experience in creating audio hardware with Steinberg’s expertise in software development leads to a system that sets new milestones in terms of operational speed, integration, configurability and design. The Nuage system solution is the quintessence of merging dedicated post-production software and hardware seamlessly together to one complete studio environment. With the Nuage console and Nuendo 6 representing the most sophisticated platform for audio post-production available today, we are delighted to offer existing and new customers a unique approach to achieving higher levels of productivity and quality,” comments Andreas Stelling, Steinberg’s managing director. Steinberg has been providing award-winning, technologically advanced music and media production products for musicians and producers of music, video and film since 1984. Today, Steinberg is one of the world's largest manufacturers of audio software and hardware, with more than 1.5 million users worldwide. Steinberg also provides business customers with license management and copy protection systems.

The Steinberg range of products has long since found world renown in all aspects of modern digital audio processing, and form the backbone of facilities specializing in music composition and production, mastering, restoration, sound design, audio post for the film, TV and games industry among many others. Features include four rear-mounted XLR-F mic inputs plus an XLR-m output to feed the preamp. To eliminate bleed between microphones, each channel is equipped with a ‘radio style’ selector switch that ensures only one mic is on at a time. The external supply provides power for the LED indicators, charges the relays and enables the Gold Digger to generate 48 volt phantom which can be turned on or off for each mic as needed. To ensure an ‘honest’ comparison between microphones, individual ‘set & forget’ trim controls let you adjust each mic level so that they produce the same relative output.

Once set up, the Gold Digger not only improves workflow, but also gives the artist more confidence with the sound of the vocal, resulting in a better overall performance. Audio-Technica in Stow, Ohio, is launching its flagship 50 Series studio microphones with the AT5040 Cardioid Condenser Microphone ($2,999 MSRP; available in January 2013 ). The hand-built AT5040 side-address condenser employs four rectangular diaphragms measuring 2 microns each that function together providing combined surface area unachievable in a standard round diaphragm. Designed as a first-choice vocal microphone with smooth top end and controlled sibilance, the AT5040’s large-diaphragm characteristics and fast transient response also make it ideal for recording acoustic instruments such as piano, guitar, strings, and saxophone. The AT5040 also features internal shock-mounting that effectively decouples the capsule from the microphone body. For additional isolation, each AT5040 is also provided with Audio-Technica’s new AT8480 shock-mount. Featuring a proprietary design, the AT8480 was engineered to isolate the microphone and rid the apparatus itself of any unwanted resonances and other audio aberrations that could be transmitted to the microphone.

It also features a specially designed locking mechanism that holds the microphone securely in place. Every AT5040 is hand-assembled and inspected for 100-percent quality control, and is housed in an elegant case of aluminum and brass with gray chrome plating for durability and low reflectivity. Discrete components have been selected for optimized capsule performance; A-T adds that it considered every aspect of the microphone to minimize any effects on the audio signal. To protect the AT5040, each microphone comes in a custom-designed hard-shell carrying case, padded with die-cut foam compartments for the microphone and shock mount.

: Checking the MOTU site to see if the highly anticipated (at least by me and, I’m sure, a number of other composers who rely heavily on MIDI) release of Digital Performer 8 for Windows is ready for prime time got me thinking. Dangerous, right, I understand! Still, there’s a question. What is your sequencer of choice? Furthermore, how well do you know the feature sets of the sequencers you’ve passed on?

Not long ago studio musicians, particularly those writing for film and television, used Pro Tools as a recorder with Logic or another sequencer functioning on the front end. Of course, Digidesign understood that it was limiting its market share and eventually integrated a well designed MIDI sequencer into Pro Tools. Steinberg, Apple (post their purchase of Logic), Ableton-you get the idea-have continued to release periodic updates of their sequencers, though some feel that MIDI architecture has been fully maxed out. What sequencer do you use? Do you feel that any one of them yields a better (read: warmer, more analog) sound? Do you use any of the analog tape modeling plug-ins?

When was the last time you visited a colleague’s studio, stopped into a music store, or tapped into YouTube to check out the competition’s feature sets? I’d be quite interested to hear from you on this topic. Whenever you get a chance, please drop me a line.

I recorded my first album with a jazz quartet in 1991. OMG, 21 years ago last century – has it been that long? The original recording was released on cassette tape (!) and is now long out of print. Over the years I got requests for a reissue of this recording from friends and people curious about the music on that project. I had a DAT tape of the final mixes which I had fortunately transferred to WAV files before the tape died (those things have a limited life as I found out the hard way). Unfortunately whenever I’d listen to the mixes, they sounded dated and suffered from some fundamental issues that made them unpleasant to listen to:.

Hard panning of the instruments. (makes mixes uncomfortable to listen to especially on headphones).

Relative levels of instruments were unbalanced. Center of mix lacked definition. Lack of dimension and air. Missing mastering attention.

On a couple of occasions I tried using various mastering tools to rectify some of these problems. However the deal breaker was always the faulty imaging – anything I did would ultimately end up negatively affecting the rest of the mix without adequately addressing the fundamental problems. While working on earlier this year, I saw R-MIX’s abilities to isolate a voice in a stereo field and remembered this project – would R-MIX be the tool that to use to fix that mix? I’ve always been a fan of Roland’s V-series technology, so the idea of virtual remixing piqued my interest.

A few of weeks ago I decided to revisit this project and started doing some experiments. I loaded up one of the more problematic tunes from the project. The synth voice was way too dominant in the mix and the overall frequency balance sounded very harsh. I set up a track containing the stereo wave file with R-MIX in the effects bin. In a few seconds I was able to isolate the instrument in the mix. I then simply dropped the “inside” level in R-MIX and panned the voice slightly to the right to move it closer to the center. This immediately solved the harshness and problem of the voice dominating the mix and resolved much of the hard panning problem.

Amazingly there were no perceivable artifacts in the rest of the mix after doing this. I was blown away! So I began experimenting with the other tunes and found that by using a combination of techniques I could pretty much solve the worst problems in the mixes.

I set up a template project with one track for the stereo wave file and two pre-fader sends going to two buses each containing an R-MIX instance. From the first bus I could isolate the voice of interest and from the second I would get the rest of the mix minus the voice. I could use set theory style to visualize and extract areas of interest from the stereo mix. With a layout like this and cascading sends I could fix problem areas by creating “virtual stems”. Very exciting stuff! However, imaging and balance were only one aspect of the problems listed above. The other primary issue was the fact that this project had never actually been mastered for CD.

It was released on cassette tape from a “cassette master”:-/ I actually was present at the tape duplication facility where I saw the dude there take the final mix tape and make his own “master” by doing a tape to tape copy through some ridiculous mixing board and applying his own EQ to it. Anyway needless to say the project needed some mastering love. I have limited time and don’t have mastering chops personally so I needed some help. When I worked on Ramona’s most recent project I had a few people critique my mixes. One of them was SONAR user and musician Eric Hansen. At the time I was very impressed with the quality and detail of his suggestions, so I decided to let him have a look at my rough remix work.

I was able to share the project file with him since he was already running X2, so he could see what I was doing with R-MIX. A day later he sent me back a new version that was way better than my initial mix, had more air and space, the middle was improved and it also fixed the worst of the other problems. Amazing, I could actually now listen to the tune without being distracted by all the bad stuff! For this session I was working with a two track master. The first step was to remix the instruments where possible. SONAR Edition was the perfect tool for the job.

My first adjustment was to move the drums from the right side towards the center of the mix. I inserted a send on track 1 and fed a bus with R-MIX in the FX bin. The purpose of this was to create a filter with R-MIX that could isolate the ride cymbal and catch a little bit of the snare drum, which were predominately on the right side. I then panned the output of the bus hard left which doubled the filtered sounds to the left side.

This resulted in a balanced image of the drums by pulling the snare towards the center and giving the cymbals a stereo feel. Here is a look at the R-MIX settings used for this task. When adjusting the drums with R-MIX, a filter was used to isolate a small section of frequencies and double them to the opposite side to create a balanced image. For the synth guitar, I wanted to lower the level of the instrument within the overall mix. To do this I first had to reduce the outside level completely and move the filter around until I found the sweet spot for the synth guitar. Then, I brought the outside level back to zero and adjusted the inside level until I felt the synth guitar was more balanced with the rest of the instruments. Next, I automated the bypass function of R-MIX so the filter would only be applied when the synth guitar was playing the melody.

On the remaining tunes I used a combination of the above techniques to widen the mixes and give them more dimension. R-MIX was the main glue to address similar stereo imaging issues that were prevalent in the other tracks as well. Some tunes were more troublesome than others since the pan would move during the course of the song making it difficult to get R-MIX to track its region of interest. In such cases its possible to automate the position of the window dynamically, though it can get harder to track if the pan changes are abrupt.

Has announced the release of for iOS devices, which is described as 'a realtime audio effects processor featuring a unique delay + sound on sound looper controlled by a multi-touch XY interface on your iPad, iPhone and iPod touch device'. Echo Pad was born out of a love for tape echoes, sound on sound loopers and analog delay pedals. Use the built in mic on your iPhone/iPad headphones, or plug in a guitar, microphone, synth, iOS device, or whatever you want using an audio interface such as the Apogee Jam or MIC, or one of the many other compatible iOS and USB audio interfaces. Great for both live performance and sound design, Echo Pad was designed to have fun with the ability to sculpt a wide range of delay tones from subtle rhythms to heavy, dubbed out ambient swirls, to aggressive feedback explosions. Also included is a no frills sound on sound looper, great for quickly looping and layering guitar riffs or vocal melodies, glitching live audio input, building layered ambient soundscapes and more. Loops can be quickly bounced to an audio file for sharing with other apps. Echo Pad is a Universal app that supports Audio Copy/Paste for quickly sharing loops and recordings created with Echo Pad with other audio apps, as well as playing back and processing pasted audio from other apps through Echo Pad's effects.

You can also export a loop or recording directly into the AudioShare file management app by using the 'Export to AudioShare' functions. This exports your loop or recording directly into the AudioShare app without needing to use AudioCopy/Paste, for a super fast workflow. Additionally, recordings and loops can be exported to iTunes File Sharing for access on your Mac/PC. Features:. Realtime FX processor designed for live performance and sound design. Multi-touch XY control of delay parameters for expressive control. Sound on sound looper for creating layered loops on the fly.

Universal app. supports iPhone 5 screen. supports Background audio. Works with headphones as well as most iOS and professional USB audio interfaces including:. Apogee Jam. Apogee Mic.

Focusrite Scarlett 2i2 (.requires external power thru USB hub). Apogee ONE (.requires external power thru USB hub). Apogee GIO (.requires external power thru USB hub). Sharing/Exporting:. Audio Copy and Paste for sharing loops and recordings made within Echo Pad, as well as playback and process pasted audio from other apps using Echo Pad in realtime. supports NEW 'Export to AudioShare' functionality. Loops and recordings created with Echo Pad can be exported directly to the AudioShare app for easy audio file management.

recordings & loops are exported to iTunes File Sharing for access on your Mac/PC. Sound design and Control:. 4 delay types - Tape/analog echo, 8-bit, Rising, Reverse. LFO assignable to delay time, input filter, volume.

Great for subtle to extreme modulated echoes. Control delay time, feedback, and echo high pass and low pass filters with XY control. (dual touch, more gestures coming in updates.). Toggle slider control panels for access to full parameters. Save and recall effect settings. BPM sync for rhythmic delays.

Tap tempo to set delay time and global BPM. Sound on sound looper for quickly capturing and layering sound. Device Requirements:.

Compatible with iPad, iPad Mini, iPhone and iPod Touch devices. Requires iOS 5.1 or later. Pricing and Availability Echo Pad 1.0 for iOS is available now for the introductory price of $2.99/€2,69 from the. We are now in the download and voting stage of the. This news item features an entry called by TD.

You can download it for free. Here's what they say about it: HYDi can only be described as one thing - Quirky. Based on a simple 3xOsc subtractive synth workflow, but with some twists. She has two voices - but is not duophonic, and should be played like a monosynth.

She's built on a Don Buchla inspired philosophy - 'Uniqueness above all else'. Built with more heart than technology. Main Features:. Generator 1 & 2: 18x Different waveshapes/processes. x-parameter: PW, Morph, Destable, etc.

(when available). Generator 3: Sub-divided into 3 Categories:. Auxiliary: 9x extra waveshapes.

Noize: 7x types. Sub-generator: 5x waveshapes. 2x LFO: 9x shapes. 4x Envelopes:. 1x Dedicated ADSR DCA (Punch & Exponential Responses available).

1x Dedicated Filter ADSR. 1x Free ADSR. 1x Free AD. 3 out of the 4 Envelopes has a 'reset to zero' option - as a bonus, but be careful - can cause clicks - especially the DCA. Main DCF - 11 types:(zero-delay-feedback). LP12 A, LP12 B, LP18, LP24 A, LP24 B., LP6 (with resonance). LP-LP, LP-BR, BP-LP, BP6, HP12.Original code by Teemu Voipio.

Small 4note Sequencer. 3x Play modes:. Mono (not really mono, but flip-voice and release steal - didn't fit on the GUI). Dual - not duophonic - similar to the above - but release stages will overlap. Unison - Actually as the name implies - Voice2 can be delayed as well.

Effects:. 2x Effects slots: Effects specially designed/tweaked for HYDi:. Alfa Chorus - pretty unique under the hood.

Dual BPM Delays. Three Band Resonator - the synth EQ. Digital Hell - Continuous Bit-Depth Manipulation, SampleRate Reduction that follows the highest note, OR bit-toggling and finally sprinkled with 'J1 shaper' a Bessel function of the first kind. Theta Flanger - Made to chill. Polar Phaser - same as above. SSB Frequency Shifter. Early Reflections Generator - space, without the reverb.

Modulation Reverb - simple - for big chorused spaces. Zero Modulation Reverb - exact opposite of above, more 'focused'. Transgate - simple 8x step gate - with a choice for any two steps to have on probability. Changes in v1.1. We are now in the download and voting stage of the. This news item features an entry called by Cescato Musiktechnologie. You can download it for free.

Here's what they say about it: Trans Computer Maschine is a semi-modular Vintage Lead Synthesizer + Pattern Sequencer. Modeled after two legendary mono synths and a custom analog sequencer from Germany. 3 Multi-Oscillators with Sawtooth, Triangle, Sawtooth-Triangle and variable Pulse shapes. Color adjustable Noise Generator. 3 mode Ring Modulator. Advanced Sample/Hold.

Selectable 2/4-pole resonant LP Filter with auto-oscillation. HP Filter with bus selection. 2 exponential Envelope Generators offering 3 operation modes. Unique Sequencer features like 'skip' and 'set' can be played live from MIDI keyboard. Inter-patch Sequencer pattern 'Copy/Paste' feature. Fully MIDI controllable. Fully VST automatable.

Changes in v1.01:. Fixed Sequencer not responding to MIDI Continuous Controllers. Changes in v1.02:. Fixed Sequencer rows settings messed up after preset reload. Fixed decay stages non functional after saving and reloading presets.

Fixed filter pole-switch button lower left quarter unresponsive. Fixed misspelled 'Oscillators' in GUI. Sequencer 'Sync' button moved close to 'Tempo' to avoid confusing use.

Kvr: Cognition Releases Akai Ewi-usb Control For Mac Free

Orchestral Strings One was recorded utilizing the legendary acoustics in the famous Berliner Hall - home of the world class Berliner Philharmoniker. Our full string orchestra contains 14 violins,10 Violas, 8 Cellos and 6 Double Basses. Now you're your turn to experience this huge orchestral section as a useful string instrument. Sound Magic has created Orchestral Strings One as a single ensemble complete with the beautiful ambience of this legendary hall. This instrument will quickly become your 'go to' string orchestra.

No longer will you have to try and build a similar sound with several different string instruments or sections, burning up tracks, RAM, CPU cycles and your valuable time. The NEO Hybrid Modeling Engine offers you the best from both the sampling and modeling worlds. The Authentic Sound of Sampling combined with the Playability of Modeling makes for a string experience that you have to try to believe.

No steep hardware requirements here. Orchestral Strings One takes up less than 200MB of disk space and doesn't overly tax your CPU. The NEO Hybrid Modeling Engine gives you absolute control over every aspect of each string - you can even design your own string. There are nearly 20 controls waiting for you to tweak. Some of you (you know who you are.) just HAVE to dial up the legato and velocity, fiddle with the dynamic response, and play with those timbre differences. Unlike static samples, modeling technology really brings the Orchestral Strings One to life.

And more importantly, Orchestral Strings One focuses on the continuous flow of melody, not on just a single note. For example, you can progressively transform a sustained note by first adding slow vibrato, then medium vibrato and finally fast vibrato.

While doing this, you can also use the expression controller to change from crescendo to decrescendo. This sort of control is just about impossible to achieve with sampled strings. Features:. Innovative Sampling technologies put 14 violins, 10 Violas, 8 Cellos and 6 Double Basses into One instrument. Neo Hybrid Modeling Engine make the full strings section into 200MB. Innovative Key Switch and Controller system makes it ideal for use in live performance. Can real-time switch between Spic, Staccato, Pizzicato, Legato, Cresando, Decresando, PFP, Vibrato, Tremolo, Trills and Sordino by Key Switches and MIDI Controllers.

Fully controllable legato system. Auto Rhythm Tool helps you better and quicker play repeated notes on fly. Multi Microphone Positions, Player, Audience and Ambience/Room. Small RAM usage and Light on CPU. Built-in High-Quality Reverb. Built in 64-Steps Sequencer enable users to compose their string phrases in a quickest and efficient way. Support Add-ons System.

Dubspot instructor and MASCHINE specialist Matt Cellitti shows us how to use a powerful new effect included in Native Instruments’ latest Maschine update (1.8): Transient Master. Here Matt demonstrates how it can be used on synth and effects tracks to help all your parts sit together better in the mix. Our next Mixing & Mastering course starts next week in NYC. Contact admissions@dubspot.com/ 1-877-DUBSPOT for info on enrollment.

Cognitone has updated Synfire, the Music Prototyping Studio, to version 1.7.4. Both Pro and Express editions have been updated. New Features: New DAW-like organization of plug-ins, MIDI and devices. R Read More.